Profiles & Interviews

As soon as I had read of Karine’s appointment as Artistic Director for Théâtre Français de Toronto, I had to do my best to get an interview booked with her. I took a chance and contacted her through Messenger to see if she might be available for a conversation.

And I was ecstatic when she got in touch with me quickly.

Karine is an established artist who is well known in Toronto and throughout the Franco-Ontarian community. She has worked with TfT on several occasions, both as a performer and as a dramaturg for Les Zinspiré.es, the company’s annual writing competition.

Originally from Montréal, Karine studied at the École de Théâtre de St-Hyacinthe. She began her career creating and co-writing the cabaret Les Effeuilleuses presented at the Lion d´Or and the Casino de Montréal. She then self-produced a variety of works, including François Archambault’s Adieu beauté at the Théâtre Prospero. She worked for several years with the Alliance théâtrale haïtienne de Montréal, where she wrote and directed a number of productions. In 2004, she moved to Toronto where she directed at the Fringe Festival.

She has appeared frequently on the TfT stage: Le Misanthrope by Molière (2007), the TfT’s 50th anniversary show Ici, les arbres s’enracinent dans l’eau (2016) and La Seconde Surprise de l´amour by Marivaux (2018). Perfectly bilingual, she has also performed in English, notably in The Numbers Game (2016), a series of theatrical pieces presented at the Storefront Theatre.

On the small screen, Karine has performed in such television series as The Detectives, The Coroner, Orphan Black, The Covert Affairs, Météo+, Toi et moi and La Malédiction de Jonathan Plourde. In 2020, she wrote Les Septs Péchés capitaux, presented as part of the Les Feuilles Vives playwriting festival as a podcast. Currently, Karine is shooting a children’s series which will be presented in French and English on Radio-Canada and CBC.

She will succeed Joël Beddows effective July 1, 2021.

We conducted our conversation via Zoom. Merci beaucoup pour notre entrevue, Karine:

In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. Today is the first day of the anniversary of the first confirmed case here in Canada. How have you and your immediate family been faring during this time?

Quite frankly, I have two children at home so they’re online schooled at this time. They’re in Grade 3 and Grade 5. They’re kids. They like to chit chat with their friends and in between the blocks of learning they have. It’s quite an adjustment for them to be so involved in the electronics of the learning world and having to be in front of a screen all day.

That’s been something I’ve been trying to prevent so that changes a lot of things.

It’s been a challenging year just to be able to continue working while being a coach and teacher for the kids.

How have you been spending your time since the theatre industry has been locked up?

Funny enough, just before Covid, I had just received the news that my play which was still a work in progress had been accepted for a festival called ‘Les Feuilles Vives’ which is a festival that happens every other year. It encourages new plays and new playwrights.

My play had been accepted except that it was incomplete at that time. With Covid, I’ve got a little bit more time to focus and to finish the play. I had a deadline the end of May. In June we worked again, but with a coach so that it would be ready for the festival which was in September.

So, I spent a lot of my time writing. And being Mom to the kids and trying to take some fresh air even for myself, and to get away from the computer.

The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else?

I don’t find that it’s an escape. What I do find for most people who are not struggling to put food on the table or more emerging matters, for the rest of us who were fortunate enough to work from home, what it gave us is the opportunity to just stop as everything was going so fast all the time. We’re being required to do so much, as parents with so many activities with the kids.

Covid gave us a moment to gather our thoughts and to slow down for a moment. There is some good in this slowing down period for artists. For some people, it feels like they can never catch their breath.

I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full tilt until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022?

You know what, I’ve hoped that it would be sooner; however, now that we’re at the beginning of 2021 and Théâtre Français de Toronto (TFT) is already talking about a program for next year. We’re wondering is it possible and does it make sense to plan something right now for next fall 2021? We don’t have the answer.

Yes, the desire is there but I think we’re going to have to be more patient. The general feeling is things aren’t really going to start happening until 2022. The kids are going to be the last vaccinated. At TFT we’re trying to reach out to work with kids and teenager, and we know they won’t be vaccinated in time for the fall for them even to consider coming to see a show with their family or with a school.

Yes, there may be pockets of theatre. We’re going to have to be creative and perhaps be outdoors. As much as we all want to return to the traditional form of the theatre, we have to be safe. We want to feel the warmth of a real show. The same thing is happening with sports and concerts. We all want to get to see these events, but it probably won’t happen until at least 2022.

I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform the actor and the audience. How has Covid transformed you in your understanding of where TFT is headed?

Honestly, my head is going in two different directions when I think about this question.

If you think about Covid, all of the active theatres had to offer some online programming. We’ve started to see things that you would not have seen before like readings online. TFT organized many contests for playwrights to write short plays and to perform them online.

Of course, that’s not the future of theatre to be online. We don’t want to go there but what it did do:

a) It made us focus on more creative projects on encouraging new artists that we wouldn’t have had time to see.

b) It brought an extra platform to supplement what is happening on stage. For example, there might be discussions on Zoom after the play or on a Saturday there might be an opportunity for a discussion on what is happening at TFT.

At TFT, we’ve learned a few things and have come up with some new ideas that we’re going to keep.
What Covid brought for most artists are questions – what is the future of theatre? What is the future of the art? Are we losing an art form as theatre is not television.

Again, theatre needs that presentational element so how is this going to be transformed? It’s an exchange between artist and audience.

Fear not. People and audiences will always want that live connection and to have that exchange between audiences and actors.

The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre?

Obviously, artists must never feel personal danger to themselves in the environment. That is a given first.
Ms. Caldwell is right. What’s strange about this is that not everyone has the same comfort level. Some people will feel safe as long as masks are worn while others might say I don’t feel safe coming in until everyone involved has passed a Covid test.

I work in film and television and the protocols are all in place in these two mediums. But I don’t blame those if they don’t feel comfortable returning to work until everyone has been vaccinated.

It brings an extra thing – do I want to do this project? Do I like this play? Is it going to pay enough but on top of that: is it safe to do this play? On top of this, people still have their bubble and if I bring Covid back home it’s a chain effect. So yes, danger is added on top of all this since there is talk and possibility this variant of the virus could or might produce a third wave according to recent media.

Now the media can make us feel guilty even though we are doing everything we can.

The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre?

Well, I’m grateful for some of the things this time of Covid has brought especially in making us aware of the social justice issues of Black Lives Matter and the Indigenous and First Nations issues. We have had the time to listen to these matters.

My partner is First Nation, born and raised on the Reserves, and my kids are identified as First Nations.
Once all of us become aware of these issues and light has been shone on them, it’s easier to begin and to open conversations. I sit on a variety of panels as school board trustee. We’re talking about systemic racism within the educational setting.

Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form?

Covid has brought us time to open our eyes and pique our curiosity to listen to the voices that were unheard before.

Emerging artists who have things to say and who are witnessing things right now in the world are inspired by what’s happening. When we return to live theatre, and this is something I want to put forward on TFT’S agenda, we cannot ignore what is going on in the world. Yes, the projects I will choose, and we will choose, to bring forward to TFT will speak of these different issues.

Live theatrical art is crucial to bring these issues forward. It’s important to have entertainment where people can laugh and cry, but it is also equally important to examine these issues in which we find ourselves now and address them through art and plays.

To learn more about TFT, please visit the company website: www.theatrefrancais.com.

You can also visit Théâtre Français de Toronto Facebook: Theatre Francais de Toronto
Twitter: @theatrefrancais
Instagram: @theatrefrancais

A glimpse at the profile picture of this adorable-looking husband-and-wife team makes me keep humming ‘We Need a Little Christmas’ from that American chestnut of a production ‘Mame.’

They’re not staging that one, far from it.

Their new all-Canadian production opens shortly, putting us all in the Christmas and holiday spirit.

‘Chris, Mrs.’ – A New Holiday Musical – has been in rehearsal since earlier in November. It’s set to run at Toronto’s Winter Garden Theatre from December 5 until December 31.

The title caught my attention immediately. It’s cute in its play on words.

It’s also a show the couple had written over the first Covid Christmas.

Lyricist, Director, and Producer Katie Kerr holds her degree from Sheridan College. She has been active as a writer and director for many years. Composer, Music Director, and Producer Matt Stodolak holds a Master of Teaching from the University of Toronto and a Bachelor of Music from McMaster University. The two are excited to make their mark on the Canadian musical theatre scene with this premiere.

It’s their first production.

Kerr and Stodolak recognize that mounting any professional musical remains risky, no matter what, as many shows are now on the Toronto scene. To top it all off, there is the rush of rushing and dashing in December to get things done and ready for the Christmas/holiday season.

That is precisely why Toronto theatre audiences need ‘Chris, Mrs.”

Kerr and Stodolak want audiences to stop and pause first and then realize it’s okay to put the dashing around to the side for the moment. Instead, let’s just take the time to enjoy the communal spirit of the season together.

What better place than the theatre?

The holiday musical’s catalyst was a Hallmark love story between the two.

Matt and Katie met performing ‘Elf, The Musical’ two years in a row. He was in the band playing second keys while she played Jovie. At that time, preliminary talk began between the two and continued why shows like ‘Chris, Mrs.’ are needed. It was through their initial discussions together and with other artists that the “AHA” moment came. There aren’t enough Christmas musicals to begin, never mind Canadian productions.

For regional theatres, the Christmas/holiday show is the venue’s opportunity to introduce audiences to the season ahead. Despite so much darkness and sadness in worldwide events, Katie and Matt wondered what type of show could be introduced to new theatregoers during the holiday season.

What became apparent during the pandemic, especially over the Christmas holidays, was people wanting to stay home and watch the plethora of Hallmark Christmas movies – probably for nostalgia’s sake and to remember what the holidays meant communally for families and loved ones.

Kerr further added:

“We looked at that spirit, giving that sort of vibe but reinfusing it with the excitement and spectacle of live theatre. We’ve gone away from the recent trend of 6 handers and small companies to something that’s bigger, that has a lot of dance, a lot of things to look at, laugh about and feel a part of.”

How will ‘Chris Mrs.’ uniquely differ from the televised Hallmark Christmas label?

The most straightforward answer – It’s the live spectacle. That’s why we go to the theatre – the universal quality of communal excitement exists only at the given moment for live audiences. Watching a live Christmas production creates a sense of comfort and nostalgia.

‘Chris Mrs.’ is the perfect holiday show to share with anyone special in your life. The live bonding experience of sharing an experience like this with others will always remain unique and something that cannot be captured on film.

Matt also spoke about noticing an evolutionary tradition. Yes, people stayed home to watch the annual Hallmark Christmas films. Now, it’s time to make further memories instead of staying home – go to the theatre and see ‘Chris, Mrs.’ together as a family or with loved ones. Katie also shared something she and her family have done these last few years. Giving presents to others is nice; however, instead of just giving stuff, her family now plans events for time together. During these last few years, they have wanted to make memories of being together over the holidays.

What a lovely idea.

And what a great plug to give tickets to the theatre as part of that new tradition.

How are the two feeling as final preparation gears up for preview performances and a December 7 opening?

Matt has called this rehearsal time a transformative professional developmental opportunity for everyone involved. The two have progressed in their professional development in mounting and promoting the show. However, Matt quickly points out that they would not have anything without all the collaborators involved who have taken their hands and shown them the efficient way of getting the show where it needs to be.

Adrenaline is pumping, but everyone is:

“Unbelievably excited. We’re actually having a lot of fun through this process. Pursuing this has been a gift; working together has been the icing on the Christmas cookie.”

Kerr added that it’s also been a joy for her and Matt to marry their experiences and professional careers up to this point in more of the performance aspect. And now they are on the other side of the table, making creative decisions. Bringing the creative and production team elements together provides an energy force that has become invigorating. There’s a nervous energy, especially around the holidays, but it’s a positive one in working on a new endeavour together.

What’s the plot of the show?

The show has a ‘Hallmarkian’ feel to it. There’s a widower and his socialite girlfriend. He has a teenage daughter and two trouble-making twins. Throw in a possible promotion on the line, an old family lodge and a seasonal employee whose Christmas spirit can really melt the heart of Jack Frost.

One overarching moral/theme that permeates is that family is what you make of it. There is also the theme of the family you make along the way. The show also looks at the traditions that unite people at this time of year.

The show’s website contains the cast members. Check it out as there are names from Stratford. Several of them appeared in the final production of ‘Monty Python’s Spamalot’, closed the show, travelled to Toronto and began rehearsals again.

There’s a complete sense of pride as ‘Chris, Mrs.’ is a wholly Canadian company employing artists and arts workers as everyone emerges from the pandemic. It was important for Matt and Katie to hire artists whom they trust in the collaborative process. The couple also wanted to give Canadian artists a sense of stability in providing work. Liam Tobin (Ben Chris) and Danielle Wade (Holly Carmichael) lead the company of performers. They have enjoyed tremendous success south of the border but have looked forward to performing for Canadian audiences.

Most of this current company has come over from the December 2022 workshop. That workshop was collaborative with some fantastic round table in-depth discussions regarding choices made in plot, character development and songs. Katie complements this cast, whom she calls talented, seasoned performers. They have looked at revised scripts and noted some things that may have been missed or might need to be placed back, given the series of revisions.

Matt also underscored how blessed he and Katie have been with the artists’ tremendously valued and appreciated collaboration regarding the songs. For example, what might have worked when he and Katie initially wrote the music and sang with their voices was not suitable later for the voices whom they had cast.

Wow! That’s high professionalism when artists work so closely together to ensure a musical operates on its numerous levels.

What has also been an honour for the two of them?

They’ve worked with many of these artists from other shows many years ago when they were all performers. What’s uniquely special about their working together again this time? They’ve all felt valued and heard in the distillation of a piece that is both satisfying as an actor and an audience member.

An annual Christmas tradition for me over the last ten years was seeing Soulpepper’s production of ‘A Christmas Carol’ at the Young Centre. Things move forward. Dickens’ story is told by many theatre companies in Toronto and GTA, but I’ve missed seeing Soulpepper’s production these last few years.

Will ‘Chris, Mrs.’ become the annual holiday story/go-to theatre tradition?

“We would love and be honoured for audience members and families to make ‘Chris, Mrs.’ a tradition whether or not it’s every year in Toronto. If it has a life outside of Ontario or Canada, we would love for the musical to be an annual tradition down the road for sure. Of course, it’ll be up to the audiences, and we hope word will get back to us to make the show an annual holiday traditional favourite.”

A new musical is always exciting for all artists involved. What’s next for Katie and Matt once the show concludes its run?

For Matt, it’s sleep, and we all had a good laugh.

The two of them are keenly focused on making ‘Chris, Mrs.’ the best show it can be. They always have ideas about new material or adaptations, but Katie said: “It’s easy to get distracted by shiny new things,” and again, we shared a good laugh.

Look for my opening night review after December 7.

‘Chris, Mrs.’ – A New Holiday Musical – runs December 5 – 31 at Toronto’s Winter Garden Theatre, 189 Yonge Street. To learn more about the show and to purchase tickets online visit www.chrismrs.com.

A big thank you to artist Kaylee Harwood who follows me on Twitter. I saw the National Tour performance of ‘Beautiful: The Carole King Musical’ in which she appeared. Kaylee performed for two years with the National Tour.

Other appearances include ‘The Sound of Music’ (Western Canada Theatre), ‘Radio City Christmas Spectacular starring the Rockettes’, ‘The Jazz Singer’ (Harold Green JTC), ‘Jesus Christ Superstar’ (Broadway/La Jolla Playhouse/Stratford), ‘Camelot’ (Stratford) and two seasons at Shaw Festival.

We conducted our conversation through Zoom. Thanks again, Kaylee:

In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family?

You know, it’s taken awhile to get to the point of surrender and the waiting and learning to look forward to things not surrounding the theatre, the openings, start of rehearsals, closings, tech days, all those things that have anchored my life for the last decade and have given it structure.

I’m doing okay, to answer your answer.

Everyone is well in health with my partner and I and our immediate families. I’m really grateful for that. My partner and I have been a bubble of two throughout this whole time. His family and my family are out in BC. I have family in Ottawa. None of us have seen our family in over a year. That’s not entirely unusual as we have chosen to live on this side of the country, and we don’t get back to BC that much. Months can go by where it adds up to over a year before we get back out there.

Knowing that we’re not being able to see our families has been hard.

How have you been spending your time since the theatre industry has been locked up tight as a drum?

As I was saying before about the structure of the eight hour days for the rehearsal period into the twelve hour tech days into the run of a show has been the run of the cycle for me for over twelve years now. I’ve grown really accustomed to this especially when I was on tour on a weekly cycle of moving every Monday.

So, this time has been a real 180 for me. At first when things shut down before we knew how extended this would all be, I certainly was in phase of tackling all those projects phase that I said I would always do. Early on, we bought paint and I painted all the things I said I wanted to paint everything in sight. It was becoming a bit of sanitorium in our apartment in Toronto because everything was white.

Once I ran out of paint, I moved on to crafting. My partner and I, we were supposed to have a spread out year from each other so we were using the time to enjoy being together, to watching our favourite shows. With the crafting, I was really into making embroidery which I had done as a kid. I used to craft a lot with my hands.

I then started making plant hangers, macrame plant hangers. My parents were around the first time the hangers were in vogue. I never got to see them the first time around. We had so many house plants in our Toronto apartment. We were really messy. It was like, ‘We don’t have surface anymore.”

So we started elevating the plants. I made so many plant hangers that I had to start giving them away. Then I started trading them in Toronto for many things. I trade them for household items that I needed. It started to pick up steam and then people were giving my name to other people. And then all of a sudden, I was selling my hangers and a couple of months ago I started a business of Retro Décor. (website at the end of the profile)

It has been a really fun adventure. I never had an actual product to sell before. I’ve always lived an artistic life, but I’ve never had something that people can purchase from me that I can give them. I’ve been mailing them all over the place. My business is called High Strung Retro Décor.

Early on, my partner and I were journaling daily because this is hopefully once in a lifetime experience. We took it seriously. In early March, I’ll never forget the feelings and sights of Toronto at that time and what it looked like to see these bare, empty streets. We lived right in downtown. It’s neat to look back on the journal now. We stopped doing it religiously a few months ago, but we took a page and looked at it and it’s neat.

The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else?

I wouldn’t say it’s been an escape. I think it’s been a tension in so many ways, a tension of holding on versus surrendering and expecting and disappointment.

You know, I also don’t agree that theatre’s an escape with all due respect to Hal Prince. The time of Covid has been a digging deeper rather than an escape. When I think of an escape, I think of a distraction and forgetting what you have at home and leaving it at the door. I don’t think that’s been Covid.

There have certainly been moments with the news of tragedy and disappointment has been so much that I’ve felt the need to escape. Whether that’s through the books I’ve read this year or the walks I’ve gone on and just leave the phone at home to experience life. I’ve had a bit of work during this time on Zoom and the practice of theatre, even in this strange medium when I’m in a Zoom room for eight hours a day, feels like an escape from Covid.

My practice of theatre is reminding me about community and about engagement in a way that it is not a constant reminder of the tragedy of the world that I feel Covid has just exacerbated.

I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022?

I won’t believe I’m back working in theatre until I’m taking my curtain call and bow closing night. That’ll be a sign.

I think I held on for a long time early on with the cancellation notices that were rolling out. With each thing that got cancelled, each heartbreak I had to go, “Okay, the curtain’s down on closing night I’m not going to believe I was in a show.” (and Kaylee and I both break out in laughter) Early on, it was by July (this was last year), by July certainly we’ll be back. And then it was early April cancellation notices were being given. And now we look back and think why would we have thought July or September would have been dates for us to return.

When I see any sign that theatre is coming back, I’ll be dancing for joy but as for me, even if a contract is signed, I’ll still be waiting to see.

I want everyone to be able to return safely and for audiences to feel welcomed but also taken care of. I don’t want to rush anything. Even though I’ve had to confront the injustice of how certain things can be open while others have to remain shut, I understand the motivations and financial interests, it just feels like artists get the rough go of it again.

I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world?

As for my understanding of theatre and transforming, my understanding of theatre hasn’t changed too much throughout this time. I still believe in the vitality of the stories that we tell and the reasons we tell them.

I feel there’s a refinement in my choices as a result of Covid. Nothing feels arbitrary anymore. I fear that I have been changed in a way regarding relationships in that I want to embrace the old way of things.

Just the day before shutdown I was in a workshop in Toronto. It was hugs, long goodbyes, talking closely and singing in each other’s faces and for so many obvious reasons we can’t do these things right now. At the news of all this, we still went out to a restaurant for drinks and food. By that point it just hadn’t hit.

I miss so many of these things. I miss even taking transit right now. I miss my gross dirty gym with loud people grunting, but I’m not going to be the first person to go back in and run on a treadmill surrounded by others.

I want to believe that I will trust again and be able to be in close proximity to people again. But right now, I haven’t touched another person except my partner for all these months.

We’re all going to need a moment when we are able to enter a rehearsal hall again, to hug and touch another person.

The late Zoe Caldwell spoke about how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and do you believe it will somehow influence your work when you return to the theatre?

I agree. I do think that danger is an interesting word to use. I don’t think anyone should ever feel physically in danger. Coming up in this industry, I’ve seen some of my favorite performers and shows teetering on the edge of unpredictability even though watching or working with them, I feel safe in what we’re doing for the environment that has been created already.

Danger is a tricky word, and I know what Zoe Caldwell is going for as I’ve felt it as an actor and theatre lover when there is danger in the work. I have absolutely felt danger during this time of Covid. I was supposed to get on a plane a couple of days after the shutdown to go work in Pittsburgh. I was supposed to go, and it didn’t get cancelled until far too late.

I didn’t end up going. I had the bag packed already but I was thinking it through, I thought it’ll be fine. And then the NBA shuts down. I still thought it’ll be fine. And then Broadway shut down. Well, I’m still going to go even through Broadway shut down. I can’t even believe I went through these series of thoughts.

I remember thinking that if I had to fly the day Broadway shut down, I probably would have got on that plane and gone. Not to say I would have become sick, but just the thought of how timely and lucky I had that cancellation before I got too far away from home. I have so many stories of people who were on the road or sublet their houses and are trying to figure out how to get home. I’ve absolutely felt danger but also grateful that it hasn’t been far more serious than it could have been.

I feel like in my work everything I’ve experienced informs what I do so yes Covid has influenced my work and who I am and how I’ll move forward. I don’t know how exactly that will manifest. I don’t think there is a literal way that it will. Certainly, the online work I’ve done this year, the noise of the BLM protests in downtown Toronto (I lived right on Bay Street) and the noise of the protestors moving up was incredible. To be in the midst of working on something with the noise outside, my heart was exploding from everything that was happening in the world. It as so present.

It wasn’t as if I could turn off the television or the news and it goes away. It’s everywhere. And it’s the people in the Zoom boxes as well because they’re all dealing with this in their own way too whether it’s someone they know who is ill, or someone fighting for their own rights or wanting to be marching. The pull of all this stuff going on, and while we’re on Zoom we’re making stories and we’re trying things out. We’re making each other laugh, and we’re crying and we’re empathizing and exorcising all these things that are coming up for us.

I think it’s inevitable Covid will influence us and our work no matter where we are in the world.

The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre?

Hmmm…. I want to continue being sensitive of everyone’s boundaries. That’s been a real learning process for me this year of setting my own boundaries and my own comfort levels. It feels so life or death in every moment, right, that I’ve had to feel and establish my own boundaries and respect others.

At the same time, I have to forge and refine my own feelings and thoughts and ways I want to live in the world. There’s been a real refinement for me in the things I care about, the causes I care about, and the things I will tolerate. I think in our business everyone’s voice matters, which it absolutely does, but the toleration of intolerance? I can’t stand intolerance.

I do feel like everyone’s voice ought to be heard, yet there are voices that are intolerant that I don’t want to continue listening to and give platforms.

Why tiptoe around these things? I don’t claim to know anything about anything but just my own life.

And yet, there ‘s been a honing in on the things I really care about in the last year unlike any other time before. I want to bring that into my work, into my practice, my daily life and continue that journey.

Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form?

Well, here’s where I agree with Hal Prince. I saw the In Memoriam Lincoln Centre tribute to Hal Prince. It was an extraordinary exhibit at the Lincoln Centre.

I do think my curiosity about human nature has really been piqued during this time. I’m always, as a performer and actor, curious about motivations and curious about other people’s lives and their journeys or stories. During this time, the curiosity for me has been about why does that seem like it’s okay to you, or why does that seem harmful to you?

We the people are making decisions and moving about the world and I don’t think there’s a ‘one size fits all’ solution for debates about issues that have surrounded Covid.

This is just a mind exercise and practice, but I try to take both sides in every debate to try it on for size. My curiosity has definitely been piqued to different people’s handlings of issues as a result of Covid.

When I return to the theatre, I don’t want to make any grand declarations as I believe I’ll carry this personal curiosity to my work as an artist. Not all of us are going to comfortable with certain boundaries, but that’s our responsibility to understand as we move forward. As artists we will have to ask in our curiosity what another artist is comfortable with, and re-establish those things for ourselves and in our workplaces.

So often on stage, in a traditional proscenium setting, we can think of the audience as one entity, as one unit. We also have to remember the unit is made up of so many parts, that every part brings their own experience. They’ve lost people whom they have loved during Covid; they’ve experienced their own sickness or frailty during this time. I want to keep that in mind as an artist as there are so many viewpoints.

To connect with Kaylee: @kaylee.harwoodTwitter @kayleeharwood.

Her personal website is www.kayleeharwood.com.

To learn more about Kaylee’s business ‘High Strung Retro Décor’, visit Instagram: @highstrungretrodecor OR visit SideBiz Studio at https://www.sidebizstudio.ca/store/high-strung-retro-decor/

The engagement comes in recognizing that it’s not about the queerness at all – it’s about the artistry in the work.

When I went through a press release and saw that Native Earth Performing Arts would be one of the ten members of a newly established coalition launching our country’s first ever National Queer and Trans Playwrighting Unit, I was pleased to be invited and interview Keith Barker, Native Earth’s Artistic Director. I wanted to profile Barker earlier in the Professional Artist Pandemic Profile Series I’ve compiled for the last two years so I’m grateful for this opportunity.

More about this coalition shortly and Native Earth’s involvement.

Throughout this series I do like to have a quick check in with the artist to see how he has fared during the pandemic.

Barker is thankful no one in his immediate family had Covid and that everyone was safe. His family felt no differently in addressing how the disease affected their lives and mental health, concerns we’ve all felt at one point.

Does Barker believe Covid has altered the trajectory of the Canadian performing arts scene?

Absolutely he does as it has led to modifications and re-examinations of so many items and issues within the professional theatre community, especially First Nations. For one, contingency plans have had to be put in place moving forward if the Indigenous performing arts community wants to ensure its voices continue to be heard even if its artists become ill with Covid. We talked about the use of understudies in Indigenous productions.

Additionally, Barker also spoke of the fact that Native Earth will continue to offer a hybrid model in offering productions to be seen live and virtually. He recognizes that people are at limits in watching online theatre as its resources are limited compared to those of film and television who have fared stronger during these last two years. However, digital presentations have allowed Native Earth to share their stories in rural and remote communities so future budgeting will have to ensure this opportunity can continue along with live performances.

The focus of Barker’s profile was this newly established consortium for the National Queer and Trans Playwrighting Unit and his professional involvement. The following theatre groups are liaised: Zee Zee Theatre (Vancouver), the frank Theatre (Vancouver), Gwaandak Theatre (Whitehorse), Theatre Outré (Lethbridge), Persephone Theatre (Saskatoon), Theatre Projects Manitoba (Winnipeg), Buddies in Bad Times Theatre (Toronto), Native Earth Performing Arts (Toronto), Imago Theatre (Montréal), and Neptune Theatre (Halifax).

For those who are interested in applying:

“2SLGBTQ+ emerging and mid-career theatre makers from across Canada are invited to submit applications by July 5, 2022. The selection process will see five artists announced in September 2022 to participate in a 10-month process, during which they will receive living wage compensation and one-on-one mentorship as they write a new work. The developed plays will be performed live and streamed online in September of 2023.”

This massively important undertaking holds gigantic implications for the Queer and Trans voice in the country. First Nations artists have also experienced similar implications in solidifying their voices to be heard as well and, as a First Nations artist himself, Barker foresees similar positive and challenging elements moving forward in the Queer and Trans community:

“It’s an opportunity to humanize all our experiences as Canadian citizens. There has been a noticeable lack both with Indigenous work and with the Queer and Trans artist voices across Canada that needed to be heard. Thanks to the work of Canada Council and federal grant money, artistic groups were asked how they are going to reflect their individual communities with a specific focus on the Indigenous and the Queer/Trans voice.”

One challenging element regarding this consortium for Keith:

“Post Covid, theatres have struggled financially. Additionally, audiences have also struggled as they have been locked up for a long time and may have become entrenched and only want to see comedies or something that make them laugh. I get that, we all want to laugh since we’ve all experienced one of the most awful times in our lives… But I’m confident in that as artists and theatre companies slate both fun and new and really good stories we’ve never heard before out there along with new voices, we will begin to cultivate audiences with challenging work and that is sure to start some great conversation. Artists are doing good work out there. If audiences are hesitant to respond, that’s the start of a conversation too.”

I’ve seen some really good stories from the Indigenous perspective since I’ve been reviewing so I fully concur with Barker as there is good stuff out there. I’ve been fully engaged when I’ve seen these productions, have asked questions and have learned in the process.

As artists and audiences emerge from Covid, are they simply at a survival stage for this next while in listening and hearing the Queer and Trans voices?

Keith believes we (including himself) are now at a crossroads where we have to begin that important conversation with the community. Look at what has transpired regarding our grappling with Residential Schools. We’ve moved beyond the recognition of Residential Schools and are now at the beginning of engagement with the issue.

The same exists in that we’ve moved simply beyond just appreciating that the queer and trans voices exist. We are now at the beginning of engagement with their voices. Changes begin in small acts. Keith then shared one personal element from his youth. When he was growing up, he was afraid of gay people until his best friend came out to him. He learned long ago that it didn’t matter to him if his best friend was gay. Keith ignored that label and saw the person of his best friend from years ago.

He then shared something from former Senator the Honourable Murray Sinclair regarding the Residential Schools issue. It took one hundred and fifty years to get into this mess and it’s going to take one hundred and fifty years to get out of it.

The same exists in engaging Queer and Trans voices and their stories. It’s not merely just a matter of survival for these individuals. They have every right to have their voices heard and their stories told. Barker stated that queer and trans stories are as good and worthy as other stories being told in theatres across this country.

It’s going to take time to engage with queer and trans artists as we live with them in this country. There are Queer and Trans Canadian artists whom audiences may know and not know. Native Earth was started by two spirited artists. The engagement comes in recognizing that it’s not about the queerness at all – it’s about the artistry in the work.

Keith concluded our conversation by saying it takes time to change. It’s a matter of playing the long game as instant gratification does not and cannot occur.

Thank you so much, Keith, for the conversation.

To learn more information and/or apply to the National Queer and Trans Playwright Unit, visit: zeezeetheatre.ca

Although it was an early morning 9 am interview with Kelli Fox in Vancouver, B.C. (and noon hour for me in Toronto), she had me laughing so much during our 40 minutes.

It was heartening to hear how she is conscious of the good fortune she has had within her 35 year career, but you’ll see from some of her responses she (like many artists) have had their love of live theatre come to a crashing halt.

On her personal web page (which I will include at the conclusion of her profile), Kelli speaks of how her work is always centered on language. And that language was glorious to hear when I had seen her production of ‘Between Riverside and Crazy’ which she had directed at Coal Mine Theatre and her appearance in ‘Sweat’ for Canadian Stage.

Kelli has worked for 13 seasons at The Shaw Festival and 3 seasons at The Stratford Festival. She is the recipient of the Gina Wilkinson Prize in 2016 established to recognize women’s transitioning to directing in mid-career. Once again, make sure you access Kelli’s website to see samples of her work over her 35 year career.

We conducted our conversation via Zoom. Thanks again, Kelli, for taking the time and for adding your voice to the conversation:

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! It’s so complex!

I’ve been ruminating a lot on the fact that, before this happened, I was feeling incredibly burned out. The last couple of projects that I did, I felt like I approached not as prepared as I wanted to be because I was just tired. I was longing for an opportunity to plant myself somewhere and not pack a bag for a few months. All of that was in my head.

And then this (Covid) happened, and I thought, “Oh, my God, what have I brought upon us all? What have I wielded into being?”

It’s been frustrating and scary and lonely, really. But I’m also trying to embrace the fact that I needed this rest. I needed to spend every night in the same bed for a year. And get a bit of breath and a routine happening in my life.

And now, a year in, and I’ve also been resistant, and I know a lot of people have been doing some incredible work online; people are keeping theatre companies alive, keeping themselves present in the virtual world. I’m so impressed and have such admiration of people who have been able to do it. And I just felt like I could barely keep up with the old way of doing things. I can’t start re-inventing the wheel right now. I’m too tired, too burned out.

And it’s not my world. I don’t understand it and don’t know how to operate in it.

And then this winter I was invited to take part in a reading of a play ‘An Acorn’ by Caridad Svich through Impel Theatre in Toronto and organized by a young woman whom I know is just remarkable. They invited me to take part in this, and I had said. “Sure, of course” as it wouldn’t require very much of me other than to show up on the Zoom webinar and read the play.

And the play spoke to me on such a kind of fundamental level, and for the first time in a year I felt like just being present with these other artists and reading these words, I felt nourished. I felt remembered what it was to be an actor again.

I’m now in very early stages of trying to figure out if I can work in this media. The other thing that is beginning to come clear now is that when we do come out the other side of this pandemic, what the world looks like then is going to include this digital theatre work. It’s not going to go away. It’s going to get folded into our practice.

So, I might as well start to get comfortable on how to work with it and what to do.

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 as a professional artist of the live theatre industry been altered and changed?

Well, that’s the sad part for me.

I come from a city (Vancouver) where theatre has not ever, in my experience, been really centered in the cultural life of the city. That’s why I moved to Toronto 25 years ago because I remember the first year I moved out to Toronto, within the first couple of years. I saw the influence of theatre in the city.

A friend of mine, Corrine Koslo, was in a show at Tarragon. I called her up and said I’m attending the Sunday Pay What You Can and I’ll see you after the show. She told me, “Just so you know, the show was ‘Memory of Water’, it’s selling really, really well and when we do these Sunday performances the box office opens at noon, and you have to be in line by 11:30 am at the latest because the line starts to go around the block.”

I showed up at 11 am and the line was already going around the block and the people at the front of the line had lawn chairs and thermoses. I thought, “I’m in a city where people care about this art form.” These aren’t theatre artists who are lined up, these are theatre lovers and theatre goers.

I was so enthralled that it made me fall in love with Toronto. What’s making me sad now, a year in and it’s a complete erasure of the industry. We don’t hear a lot about it.

Not that I’m dissing any of these people who are also just trying to survive during this difficult time. We hear a lot about the restaurant industry, we hear a lot about sports and the teams, and how they and the athletes are going to be able to carry on.

It doesn’t seem to matter what steps people take to try make things safe in theatre. Even the film industry is somehow able to get an opening to move forward. It doesn’t seem to matter what the theatre does, nobody cares enough whether it survives to put a real political cultural will behind it.

That makes me sad if I think about it too hard.

As a professional artist, what are you missing the most about the live theatre industry?

Ooooo…..I miss, strangely enough, I miss sitting in an audience. I sometimes think back to previews of ‘Riverside’ at Coal Mine Theatre and sitting in that cramped little space with 70 other people, shoulder to shoulder, and feeling and breathing with other people.

And in that space, it wasn’t the blood and sweat of the actors, it was the audience too engaged in that.

I miss that jamming in of humans together into a shared experience.

I would call ‘Between Riverside’ my first mainstage directing project even though Coal Mine is an indie company, it’s one with a lot of profile. I knew this was one people were going to see, and I was nervous. I was just so in love with the entire cast of ‘Riverside’. (At this point, Kelli named each of them with a big heartfelt smile)

As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it?
Just the privilege of being a working theatre artist.

I think I’ve thought I understood what that meant. I know I’ve said to many people over the years I’m conscious of my good fortune, and that I’m one of the few that gets to make a living at this. I would never guess that 35 years in that a whole year would pass and I wouldn’t work at all. I’m not making a living at this.

I’m in fact now going to have to start thinking about some alternative way to get some income because I can’t. I’m not going to hold out much longer. And that’s been a bit of a shock to me as to how much I had taken for granted even as I thought I was being consciously aware and grateful of my good fortune.

Describe one element you hope has changed concerning the live theatre industry.
Well, this was already started to happen before the pandemic:

“The keys to the gates are in different hands” and that’s going to change what it all looks like and how it all operates. And I think that’s a good thing as it’s been a long time coming.

I don’t really know what to expect when that happens when we all do show up to work together again. It’s not gonna be the same old guard putting us back on the same track to do the same kind of thing.

It’s going to be different. And people like me are not going to be running that show so, I’ll see what the party looks like and who’s invited to it and what kind of work gets done.

It’s a conversation too, and that’s partly what I love working live is that it makes the conversation interactive. It feels like real questions get posed and people walk away with real and live conversations in their heads about what they’ve seen and heard. Those are going to be different.

I’m being a little bit cagey about how I’m wording this because I don’t want to get in to a too much detailed conversation about what we’re seeing. But what I’m seeing is a lot of change, and a lot of change at the gatekeeper level, and I think it’s good. I hesitate to talk about it too much because I don’t want to invest myself too much into a particular either-or form of outcome. I want to see what happens.

Even if you have no problem with what was going on at Soulpepper before Weyni Mengesha (Artistic Director), just the fact she comes with a completely different perspective and completely different set of curiosities and interests and wants to focus on different areas that would never have occurred under previous artistic leadership, that to me is incredibly valuable. We need that.

I’m so delighted that more and more of that is happening.

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

Ooooooo….. what must I still accomplish within the industry?

(Note: I stumped Kelli for a few seconds as I could see she was really thinking)

Apart from in the late 80s when I visited the Shaw Festival and saw the work and had a deliberate conscious idea that I need to work there, to work with that company. I want to be in that milieu. And I worked really hard to accomplish that specific goal.

And I was really pleased it worked out. I had a great time there.

But apart from that, I’ve never really made a plan. I got very lucky when I started to direct because I had enough of a track record as an actor that people went okay, sure, let’s see what you do with this show.

As things started to work out, people started to ask and that worked out. I asked Gina Wilkinson how she made that transition. And she said, “I just wanted to. And people let me.”

I thought that sounded great and good for Gina. And in turn that’s exactly what happened to me.

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 both as an artist in the theatre, and as an audience member observing the theatre.

(Kelly let out an Uuuugghh)…

I want to be surrounded by humanity and share in a live experience together. That’s mostly what I want.

But God, I hope we don’t get a whole tsunami of Covid themed plays. I see a lot of stuff on Twitter, and these are conversations I try not to get involved in too much, about I hope we don’t see that. Or when we get back to the theatre, people are saying we’re going to do meaningful work, meaningful work, and the company’s program is ‘Sound of Music’ or ‘Singing in the Rain’.

We just need to bring an audience back. And is an audience going to be a post World War 2 audience? We just want to see dance and a comedy. We don’t want to deal with death and destruction. We’ve had enough. We’ve been through a collective trauma, and it would make perfect sense for people to say, “Just do a tap dance. Please.”

I would empathize with an audience that wants music and laughter, and artists that want to work in that capacity. I just want to be in a room with people and share a laugh. That said, there’s going to be the need to have a conversation about what audiences want to see.

The important thing to me is that we get to a place where we’re comfortable. This is what worries about me about how long it’s going to take because we need to get to a place where people feel good about walking into The Coal Mine Store Front space and sitting shoulder to shoulder with 80 other bodies, and not feel concerned about that.

That’s where we need to get back first before we get back to the theatre. I feel that’s going to be a long time. We need to be patient with each other and take a little space, breathe, smile and have that conversation.

As an artist, what specifically is it about your work that you want future audiences to remember about you?

Wow!!

I think what would be most important to me is if people thought of me as somebody who centered the work over herself as an artist.

I think I’ve always tried. Obviously, I walk into the room with an ego, and all actors enter the room with an ego, and you can’t deny that. But I think, I’ve always consciously tried to say if I’m having an issue, is the issue I’m having about my ego or is it a problem I need to solve in the work.

I never wanted to be too concerned about what people thought of Kelli after they saw a play in which Kelli played a racist. I never wanted people to walk out of a theatre after ‘Sweat’ worrying about what they thought of me as a human being. I want them to look at Tracy as a human being.

To learn more about Kelli, visit her website: www.kellifox.ca.

You can also follow Kelli on Twitter: @KelliFox14 /Instagram: @nelsonsdotter

There are no pretentious airs whatsoever with artist Kevin Bundy. He strikes me as one of those guys to whom you could say let’s go for a beer and talk further.

And I’m sure he would even buy a round, right, Kevin?

I’ve seen his work on stage many times at Soulpepper in ‘Sisters’, ‘A Christmas Carol’ and in ‘Carmel’ at 4th Line Theatre. Kevin’s work on stage has been diverse, and whenever I see his name in the programme or in publicity, I know for certain that he will always deliver an excellent live performance.

Kevin completed his theatre training at Montreal’s National Theatre School from 1984-1987. He was also at the Banff School for Fine Arts and took the Summer Drama Program. He has worked at many theatres across the country including Stratford, Shaw, Soulpepper, and Necessary Angel.

There are still many theatres across the country where he would love to work.

We conducted our conversation via Zoom and shared some good laughs. Thank you so much, Kevin, for adding your voice to this profile series:

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!!! That’s a big question to begin with, Joe (and Kevin and I share a quick laugh).

I realize that being an actor for somebody who works mainly in front of a live audience, that I value and my personal worth partly from those live performances. Personally, I do as well as an actor and an artist.

I realize during this time that my self worth was put in great jeopardy because I don’t get that feedback from a live audience which I personally need so that’s been tough. So, I’ve discovered what and how my own personal worth is in terms of my acting and my contributions to the profession and then, also hand in hand with that in my personal life, what have I done? What I have I achieved? What is of value that I attempted to achieve?

All of those things really, boy for me, come into question. I was listening to an interview on the CBC where the interviewee was stating that, as an artist who performs live in front of an audience for six years now, he gauges his self worth on what he gets back from the audience; he said that he doesn’t get that anymore on account of Covid.

And I thought, “Oh my God, I’m having those same exact thoughts.”

What we have to try to do in these times, at least for me, is not to try deriving self worth from our profession anymore but take some time alone to decide who I am.

This is the edge of a giant therapy session. (and we two share another laugh)

Those are the big questions of my profession. This is who I am in my profession, and now that that’s gone, who am I?

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

Because of my profession, I think it’s important to attend live theatre and perform live theatre. Because it hasn’t been around for these last sixteen months indoors (and God knows how much longer), to me, now, it’s essential. Live theatre has become that much more important in people’s lives, and I hear that from other people who say, “You know what I miss? I miss live theatre.”

I thought they were going to say ‘going to the movies’.

Friends of mine who don’t attend a lot of live theatre say they’re looking forward to that time when they will have that chance to attend a show when they choose to do so.

So, the answer to that question is it’s gone from being an important part of our lives to being an essential part of our lives. The fact that live theatre was gone raised the bar on how important and essential it is.

As a professional artist, what are you missing the most about the live theatre industry?
There’s so much I miss.

I miss rehearsing a part. I miss researching a part. I miss getting into a part.

I miss the people in the rehearsal hall. And there’s something about that last run through in the rehearsal hall before you hit the deck. It’s always so magical. There’s always something amazing happens because we try to put as many of these pieces together as we can before it gets taken apart again.

That last run through in the rehearsal hall – I really, really miss that.

I miss seeing my colleagues do really good work when you go see something and tell that person after, “I didn’t know you could do that” or “I knew you could but boy you blew it out of the water.”
I really miss seeing actors and artists doing really good work and being thrilled by it. That’s what I miss a lot.

I miss seeing my friends doing great things, but I always want to go and perform live theatre and take people away in the same way my friends and colleagues do.

As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it?

Oh, yeah…that human connection in the room. So many times, what we’re doing now (and Kevin points to his computer screen), the Zoom call, the Zoom room, the Zoom audition, the Zoom workshops, we’ve all done lots of them now.

But it’s real human connection with someone else in the room.

That is greatness, so I’ll never take real human connection for granted ever again.

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

(Before Kevin answered this question, I let him know several artists found it difficult to narrow it down to one element, and amusingly stated they would like to cheat on this question and add many elements.)
I can see why people want to cheat on this question and say they want to use the word ‘many’ elements instead of just one…

(Kevin gave a long pause and I could sense he wanted to say it right and state it right)

This is what I think. I think the standard will go up. After these last fifteen, sixteen months away, when we return to the theatre we have to raise the standard, and say that we, as artists, have to do better and to make this medium and profession better.

The medium and profession can’t go on the way it has gone on for so long.

We will ensure this profession’s bar is raised to the highest standards and expect a higher level of ourselves, our performers, and our writers.

That’s what I think.

The last fifteen months with social movements throughout the entire country will only assist in raising the standards of equity, diversity, and inclusivity even further to make this medium and profession even better.

Explain what specifically you believe you must still accomplish within the theatre industry.
Oh, wow, that I must still accomplish.

I must still accomplish getting another job. (and we share another good laugh).

The one thing that I would like to be able to accomplish…wow…I like to be able to accomplish effecting somebody who is younger and who wants to be in the profession.

It is so hard to break into this profession, and even if you do, to maintain and sustain a career in it.
I would like to influence and affect somebody to want to continue to be in this profession. There are loads of theatre schools and lots of theatre graduates. There are a lot of people as well asking what’s happening here, and I hope I can influence someone to want to move forward in this profession.

I hope I’ve done that so far.

Yes, there are harsh realties of the business, but I hope I can help younger actors find that magic in it, the beauty of it, the poetry and greatness this industry holds.

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 both as an artist in the theatre, and as an audience member observing the theatre.

(And again, I let Kevin know first how some artists truly felt about this future possible wave of Covid themed plays and stories)

Joe, you said several other artists told you there would be no fucking way they would attend a Covid themed play.

I understand why people might answer this question in saying that.

It’s inevitable that there are going to be Covid themed stories and plays because it’s an era. It’s an era that has happened to humanity so it’s not going to be denied or ignored. I think audiences might get bored with Covid related stories and plays early on, but this is a time of all of us trying to find out who we are. This has been a major time in humanity as we’re all trying to figure out who we are.

In a way, I say the opposite to no fucking way.

I say, “Bring it the fuck on” (and we share another good laugh).

I do get it, but for sure it’s gonna happen.

As a professional artist, what specifically is it about your work that you want future audiences to remember about you?
Oh, oh, great question, Joe!

I want audiences to remember that they were taken outside of themselves. I would like them hopefully to be moved by something I did or were different in the way they left from the way they entered the theatre by something I did, by an interpretation that I was able to do with someone else’s words, or somebody else’s text.

That’s what I would hope they would remember me by.

Not with humour or melodrama, drama, or anything like that. But just generally overall hopefully I’ve moved an audience member into better insight into themselves or humanity.

Is that a really lengthy answer, Joe? (and Kevin and I share another good laugh)

C’mon, what did other people say?

What’s the old saying for ‘The Hyde House’? It’s worth the drive to Acton. Well, I’ll tell you, for the last two summers, it has been well worth the drive to 4th Line Theatre in Millbrook, Ontario to see some phenomenal surprises at this gem of an outdoor summer theatre. There’s good stuff going on here.

I remember writing the first review for 4th Line the first summer I attended and figuratively kicked myself in the behind why I hadn’t made it out there before. I’m saddened at the fact audiences might not have the opportunity to be there this summer. Sigh.

Managing Artistic Director, Kim Blackwell, is still hopeful there will be a change as the first show is only postponed. I am truly praying the theatre gods will change things for the better. I know it sounds corny, but 4th Line has been one of the highlights of my summer for the last two years, and I’ve always looked forward to it. And the fact that next summer will be the 30th anniversary makes this company’s work even that more special to attend.

Thank you so much, Kim, for having this interview with me via email:

1. How have you been doing during this period of isolation and quarantine? Is your family doing well?
Thanks for asking. I have been ok – no one in our family is sick so that is of course the best possible news. My daughter is doing school remotely and she like waking up at 8:55 am and going downstairs to the den to do school in her PJs. She loves that. My husband is working at home as well, as he works in IT. We miss seeing my parents and my husband’s mom but obviously everyone is being careful about staying at home as much as possible.

As an interesting side note – I had a stress related heart issue in January of this year and now I laugh and say, “I thought my heart attack was going to be the biggest thing to happen in 2020.” 🙂

We went to Mexico on March 10th and then the entire world went crazy and we had to fly back a week early. The stress of that was quite something. My husband, daughter and I spend days and days just seeing each other. That has been quite a time of getting to know each other all over again. We have all been so busy for several years and running around almost non-stop. This sudden stop has forced us to slow down and cook together, eat together and talk to each other more.

2. Tell me briefly about the shows that were to have been presented this summer at 4th Line. Were any of them in rehearsal or pre-production before the pandemic was declared and everything had to be shut down. Will these shows be a part of the 2021 summer slate?

We have only postponed the first show so far. That show was Alex Poch-Goldin’s ‘The Great Shadow’ which was to be directed by Deb Williams. We have moved this world premiere play into the opening slot for the 2021 summer season – which will be our 30th anniversary season. The Board of Directors will make a decision about the fate of the 2nd show on May 22nd. That is Maja Ardal’s ‘Wishful Seeing’ based on the book of the same title by Janet Kellough.

When the pandemic started to hit in February, we slowed all pre-production work right down to see how things would develop. As such, very little planning had started in terms of designers, etc. We had not gone into rehearsals. For either production

In ‘The Great Shadow’, set in the roaring ’20s, the stars of the silver screen are heading to Canada as Trenton, Ont. embarks on a quest to become Hollywood North. Sparks fly in this world première when small-town Ontario residents collide with the Hollywood elites. From Alex Poch-Goldin, the playwright who brought you ‘The Right Road to Pontypool’ and ‘The Bad Luck Bank Robbers’, ‘The Great Shadow’ is a raucous comedy, packed with romance and intrigue in the golden age of film.

‘Wishful Seeing’ tells the story of saddlebag preacher Thaddeus Lewis played by 4th Line founder and creative director Robert Winslow, who stumbles upon a murder mystery on the shores of Rice Lake. It’s a historical thriller set in 1853, with a colourful cast of characters set against the backdrop of a rapidly growing pre-Confederation Canada, and reminiscent of the popular television series “Murdoch Mysteries.”

3. What has been the most challenging part of the isolation and quarantine for you personally and professionally?

Well, personally, it has been that we bought a house right before the lockdown and are moving to Peterborough in June of this year. And we are preparing to rent out our house in Toronto. This move, after living in Toronto for 20 years, would have been a wild ride in normal situation, now it is so crazy. And my daughter is missing the last 40% of grade eight, she’s been at the same small school for 10 years. She is missing the typical grade eight celebrations. My heart hurts for her.

We miss hugging our parents – my husband and I – I worry about them being so isolated. My mom has Lewy Body dementia and the isolation and lack of mental stimulation is not good for her, especially. My parents are in a retirement residence in Peterborough and the staff are so vigilant about keeping COVID out of their home. So I am deeply grateful for all that they are doing but we really miss seeing them. And with my husband’s mom – she is alone in her home with our dog. Thankfully she has the company, but we miss her and we miss having our dog with us.

Professionally, I am gutted by the loss of the first show of the season and the possibility of losing the entire season. I am sick for all the artists who have lost work. I worry about future of our theatre and theatre in general.

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

There are lots of meetings around creating multiple different plans and budgets, meetings with staff, board, stakeholders. There is planning and programming decisions to make. We have created some initial online programming including Artist Talks and a reading. We will be developing more online work to keep engaged with audiences. I workout as much as I can. I am binging shows on Netflix, Prime and Crave. The best so far have been ‘Chernobyl’, ‘Once Were Brothers’ and revisiting ‘The Wire’. I am cooking and baking like crazy. I baked bread for the first time in about 20 years. I am trying to meditate and read. And some days I lay on the couch and am terribly sad about it all. I am mourning the many losses…

5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? What words of advice would you give to the new graduates emerging from the theatre schools?

Oh gosh – I am not sure I’m a good person to give anyone advice. I think we are going to be in this for the long haul. Theatre will be one of the last sectors to come back online during this pandemic. I think patience will be needed. I do think people will come back to the theatre eventually, because we all have an innate need to gather together and share stories and communal experiences.

6. Do you see anything positive coming out of this pandemic?

I think people were in a severe state of burn-out going into the pandemic. I saw people being terribly frazzled and run off their feet. I think the pandemic has allowed people to stop and breath. Of course they have been saddled with many new stresses – financial and job related primarily. Perhaps coming out of this, people will be able to slow down and prioritize their lives and say no to things more often.

7. Do you believe or can you see if the Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19?

I guess people are getting more savvy at digital interaction and disseminating their work in a digital platform. There is already so much digital work to chose from, it’s amazing. I think the pandemic will reaffirm that we all love the relationship between art and audiences which is at the core of our art practice. And we will be much more sensitive to that innate relationship when we can be together again.

8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? Will streaming/online/ You Tube performances be part of a ‘new normal’ for the live theatre/performing arts scene?

See above – I know that government funders really want us to explore digital platforms for our art, especially in the short-term. And of course we will/are. But in the long term, theatre needs to be experienced live. That is what makes it transformational for audiences and artists alike.

9. As 4th Line Theatre’s Managing Artistic Director, where do you see the future of 4th Line headed as a result of this life changing event for all of us?

Well, that is the $64,000 question isn’t it? I hope we return to a version of normal in the not too distant future. I hope to welcome audiences back to the farm as soon as it is safe. I think we, at 4th Line, are ideally suited to do that earlier than some theatres because we are outdoors, and we can achieve social distancing without much fuss.

I worry about the theatre’s fiscal viability, of course. But I know that when we started the theatre in 1992, we started small and very community based. And if we have to, we can go back to that simplicity. 2021 will be our 30th season and I am trying to imagine that a return to our roots might not be the worst thing that ever happened. When audiences are ready to come back to the farm, we want to ensure we are there to welcome them.

With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews:

1. What is your favourite word?

Daughter

2. What is your least favourite word?

Taxes

3. What turns you on?

Funny people

4. What turns you off?

Lack of personal and professional integrity

5. What sound or noise do you love?

It’s a tie between the sound of my daughter’s voice and the roar of an audience’s laughter.

6. What sound or noise bothers you?

Many sounds – I have moderate misophonia – especially candies being unwrapped in the theatre. 😉

7. What is your favourite curse word?

The ‘c’ word

8. What profession, other than your own, would you have liked to attempt?

Criminal law

9. What profession would you not like to do?

Garbage Collector

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

“ I know, I am surprised as you are!!!”

To learn more about 4th Line Theatre, visit www.4thlinetheatre.on.ca.

A recent check-in with 4th Line Managing Artistic Director Kim Blackwell shows the lady still adores the theatre.

To read my first online conversation with her, go here: https://www.onstageblog.com/profiles/2020/5/11/the-self-isolated-artist-series-torontopeterborough-ontario-profile-of-kim-blackwell.

2024 marks Kim’s 30th season with 4th Line, where she has directed 28 productions and 15 world premieres.

The lady seems to have no intention of slowing down in her love of the theatre.

In September 2016, Blackwell was inducted into Peterborough’s Pathway of Fame. In 2020, she received Toronto theatre critic Lynn Slotkin’s Jon Kaplan Mensch Award. Kim has recently joined the Playwright’s Guild of Canada and is working on her first solo, full-length play for 4th Line, ‘The Lost Souls.’

When she answered questions for her first profile check-in back in 2020, Kim stated the following about the effects of the worldwide pandemic on the Canadian theatre scene:

“[It] will reaffirm that we all love the relationship between art and audiences which is at the core of our art practice. And we will be much more sensitive to that innate relationship when we can be together again.”

I’m happy to report that 4th Line’s relationship with audiences has been strengthened thanks to some terrific shows on the playbill and fine on-stage work by local and professional performing artists since we’ve all returned from Covid.

This week, Beverley Cooper’s ‘Jim Watts: Girl Reporter’ opens in preview on July 30 and 31, with opening night set for August 1. Directed by Blackwell, the twenty-eight-ensemble cast tells the story, billed as a fascinating exploration, of the experience of trailblazing youth who illegally flocked to Spain to fight fascism, attempting to stop its march across Europe in the mid-1930s. Jean ‘Jim’ Watts was the only woman to join Canada’s battalion in Spain, the Mackenzie-Papineaus.

Recently, I attended the media call for ‘Jim Watts’ and spoke with her.

What is it about the theatre that keeps her intrigued and motivated?

“Well, it’s been in my blood and belly since I was a little kid.”

She said she diverted a couple of times over the years; however, from when she was twenty-five, she was out at 4th Line. She says she doesn’t want to do anything else.

Does writing for film or television interest her at all?

“They’re not of interest to me. This medium [the theatre] and this connection between art and audience, which is at the heart of the work we do here, is so special and so transformative. I really do see how our work changes people’s lives and changes the world. I see it almost on a daily basis.”

Blackwell referred to the most recent ‘Onion Skins and Peach Fuzz: The Farmerettes,’ which concluded its run recently. What touched Kim’s heart was seeing those ladies who were Farmerettes and their families come out and see actors tell their story. That’s pretty extraordinary for people.

With a smile, Kim proudly stated that 4th Line has been doing just that for thirty-two years.

And I truly hope the company continues doing it for another thirty-two years (and beyond).

From what I understand, 4th Line audiences continue growing. Blackwell says 70% of the company’s audiences are from 50 kilometres away— Millbrook, Peterborough, Oshawa, Port Hope, Bowmanville, Belleville, and Lindsay are only several examples. 12% of the audience comes from the Greater Toronto area.

What she once again proudly states about the 4th Line:

“Our audiences are local, loyal, and love to see the stories in this area they didn’t know about.”

As the opening night approaches for ‘Jim Watts,’ what message is Blackwell hoping audiences will take away from the production as a director?

Kim says playwright Beverley Cooper’s play raises an interesting question: “Can one person make a difference?”

Are we all struggling with that question right now? Are we, as humans, with so much change going on around us, making a difference?

“It’s all so big,” Blackwell emphasizes. “The problems are so big. There’s division. Can people actually dig in and make a difference?”

Kim then opened up and said she feels this way in her own life. She, her husband, and her daughter moved back to Peterborough in 2020, and she immediately joined various city Boards.

She wants to make a difference within her community.

Jean Watts, the central character in the play, and the young men who went over to fight in Spain all wanted to make a difference. They were trying to effect change.

‘Jean Watts’ is a hero’s journey primarily focusing on Jean Watts, who goes by the nickname Jim. In her belly, Jean is a privileged girl from North Toronto who wants to make a difference. She wants her life to matter and to mean something. She finds herself going from Toronto to Madrid and the battlefields of Spain (what Kim says was a dress rehearsal for World War 2). The play then concludes in Peterborough in the early 1960s.

Kim then made a comment that intrigued me:

“Democracy is fragile. It’s not a guarantee, and if we see what’s happening in other parts of Europe and south of our border, there is a will to see a few people have a lot of power and say.”

As we concluded our conversation, Blackwell said, ‘Jim Watts’ poses many big questions. But there are moments of humour, music, and romance. There will be live animals and a beautiful set that has a revolve.

Is the theatre dying?

“I hope it’s not dying. If people come out, it’s not going to die.”

‘Jim Watts: Girl Reporter’ opens in previews on July 30 and 31, with opening night on August 1. The production runs to August 24 at 4th Line Theatre, 779 Zion Line, Millbrook. For tickets, visit 4thlinetheatre.on.ca or call (705) 932-4445.

A delightful conversation with Krystin Pellerin.

This month she appears as Diana, Princess of Wales, at the Stratford Festival’s ‘Casey and Diana’ by Nick Green. The production opens June 1 and runs to June 17 at the Studio Theatre.

During our Zoom conversation, I told the National Theatre School graduate she and I went way back. She smiled and quizzed me a bit further. I saw her work back in 2009 when she appeared on CBC’s ‘Republic of Doyle’. I was off on cancer leave from work that year and Tuesday nights were my ‘me time’ spent watching her, Allan Hawco (Jake Doyle), and a cast of wonderful actors tell the weekly story of the Doyles, their work as police officers, and all the other familial machinations. A big smile then came across her face as she was so grateful to hear how the show provided some relief for me and my family.

Fast forward past 2010, I have seen Krystin’s work in Soulpepper’s ‘A Christmas Carol’ and at Stratford where she played a sultry Lady Macbeth.

By the publishing date of her profile, Pellerin will be in performance of ‘Casey and Diana’.

The play is a Stratford Commission. The story follows the Toronto AIDS hospice, Casey House, and the anticipation of the Princess of Wales’s arrival in 1991, the hope she brings, and the effect her visit has on the house residents. This historical moment saw the world in fear over the AIDS and HIV pandemic. Nick Green’s story vividly captures when a rebel Princess, alongside less famous caregivers and advocates, reshaped the course of a pandemic—and how those stricken by the virus found hard-won dignity, community, and love in the face of astonishing hardship.

Krystin feels so fortunate to be a part of the production. It has been completely inspiring and fulfilling for her in ways that she could never anticipate. With an incredible script by Nick Green, Pellerin feels this is a perfect opportunity to return to the theatre:

“This has been one of the smoothest rehearsal periods. I feel so well taken care of as an actor. I couldn’t be in better company with incredible artists. [Director] Andrew Kushnir has been facilitating all that. It has been a heartfelt and heartening experience. His vision has been crystal clear but entirely collaborative.”

As an actor, Pellerin acknowledges Kushnir’s mindfulness has allowed the artists to go deep into the intensity of the story.

And on playing the late Princess of Wales?

Pellerin took a moment and paused to try and find the right words:

“It’s daunting and very, very big shoes to fill. It’s such a privilege to be inspired by her for a whole nine months. I was cast in September, and I’ve been absorbing as much as I can in keeping her close to my heart. I intend for Diana’s spirit to stay with me always. She is a gift.”

She also spoke about how healing the research and rehearsal process has been. When Krystin gets past the initial moments of feeling scared, she says there is such a calming effect Diana exudes on the actor and the people in Nick Green’s script.

Pellerin has said it has been a real treat researching online the videos of Diana and her work in visiting and being with others. There is so much out there, but what has been remarkable in this research was finding those candid and private moments of the Princess. These documentaries where Diana is herself and at home speaking privately were the most informative for Krystin.

Any word from Buckingham Palace or the Princes about their mother?

Rumours will always float around, and they can’t be verified. However, Krystin has heard there might have been reaching out to Harry and Meghan but that is unfounded.

Who knows? One of us just might be sitting next to the Duke and Duchess of Sussex. As Krystin says: “That would be surreal.”

What are some important messages audiences will take away from ‘Casey and Diana’?

One thing Krystin has noticed is the lived experience many of the audience members have had about this time in the early ‘90s. She hopes the performance will bring healing to them. For those who are coming without any lived experience of this time, she also hopes the performance gives a glimpse of the people who lived with HIV in the past and those in the present. She trusts the play will remove that stigma that might remain today.

How’s she feeling about the return to the theatre?

She follows the advice she gives to anyone entering the industry:

“Take care of your spirit and be always looking for ways to be inspired on a daily basis. If you’re living well and taking care of yourself you have so much more to give.”

Change has been a part of the theatre industry. Nevertheless, Krystin feels this is the first year we are starting to come out on the other side bit by bit. The proverbial next five years of the theatre will be making up for lost time and she appreciates now more than ever to be with an audience again and how changing it can be.

She avows we need the theatre industry now more than ever. It takes time for all to adjust and become comfortable again, and yes Krystin at times feels a bit tentative; however, that sense of relief with the personal connection of being in front of a live audience again after having been without it for so long has become a visceral experience. It’s ELECTRIC and so VITAL.

Although ‘Casey and Diana’ is a short run, Krystin can sense she and many of the cast feel the play will have a life after its run at the Studio Theatre. Will it tour around the province? Krystin can only speak for herself but she’s almost positive everyone would be there in a heartbeat if it moves forward in that respect.

As we concluded our conversation, what’s next for the busy artist once the play concludes its run:

“Right now, it’s an open book. We’ll see what happens. I am looking forward to getting back to my family life. My husband and I have a two-year-old daughter. I’ve been away from her during the days and nights and am looking forward to having a summer and quality time with her. I’m open to anything.”

To purchase tickets to see ‘Casey and Diana’, visit www.stratfordfestival.ca or call 1-800-567-1600.

It has only been a few days when I discovered that a former student of mine from many years ago, Kyle Brown, has been cast in the Toronto company of ‘Come from Away.’ The current Toronto cast had been performing ‘Welcome to the Rock’ from their various homes. I was looking at each of the cast members and was elated to recognize Kyle in the company.

After studying Music and Biblical Theology at Gateway College in St. Louis, MO, Kyle practiced church ministry in music and youth leadership. Eventually, he learned this was not his path and returned to Canada where he began performing while taking private lessons in singing, dancing and acting.

Kyle only had four rehearsals into the production before the pandemic shut down all the theatres. His first appearance in the Toronto company was to have been April 9. Well, Kyle, when the all-clear is given and you are in the company, I will be out to see your performance.

It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner?

Well, first of all, we’re going outside more. It’s kind of like coming out of the cave if you will. We all are. It’s very nice whether you’re distanced meeting with people for a gathering. It’s a really nice feeling to see other people.

On top of that, I’ve recently picked up a few restaurant shifts. I know an owner of a restaurant and was lucky enough that he was kind enough to offer me some work especially with the uncertainty of CERB ending.

Were you involved or being considered for any projects before everything was shut down?

My focus at that time when everything shut down five months ago was just on ‘Come from Away’. I was just really trying to get my brain wrapped around the entire production. It is a hefty show to put on in terms of just everything that is happening on stage. There are twelve actors on a stage for nearly the entire show. There are a lot of quick changes and a lot of transitions, not intense but very subtle and specific choreography. A lot of things to pick up on, and I had six weeks to do it as I was to have put in the show April 9.

This whole process has been an interesting game of guessing and being wrong. I don’t guess anymore. You realize pretty quickly that at some point we have no clue when we will be back. Something in my gut is telling me maybe in Spring 2021 just because it marks a year since we were shut down. There’s no evidence for that, it’s just my gut feeling. I’m not basing that on anything. It all depends on whether there is a vaccine.

Some of the theatre companies have big choices to make and the government allows people, what’s feasible for a production, safety precautions for the actors and the audience, and everyone involved. It’s a tricky thing to maneuver. I don’t envy anyone who has to make these decisions because it’s very tough.
Describe the most challenging element or moment of the isolation period for you.

Probably the very beginning was just the uncertainty. And I think throughout this whole thing is the uncertainty. It’s just a lesson for us all, we don’t know anything in life at the end of the day. But not knowing, for example, as we were discussing when we’re coming back, it makes things difficult and to go about your life. For me, I’m waiting with this awesome production that’s ready to go when we can go, but who knows when that’s going to be? And what do I do with myself in the meantime?

How do I make an income? How long do I hold out? What do we do? The uncertainty is challenging but I’m getting used to it.

The restaurant owner is a friend and knows my situation that when the theatres are re-opened, I will just say, “Here’s my two-week notice. As soon as I get that call, I’m out of there.”

What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time?

I’ve been first and foremost embracing the ‘non-busyness’ of it all. I’ve been doing a lot of meditating, doing a lot of self-care work and reflection as well. I found myself alone a lot with my thoughts and doing this self-care and reflection allowed me some new and further personal insights into who I am and my person and what I wanted to know and/or change about myself.

I’ve been exercising a lot which is something I never really did but it’s kept me sane. It gave me an excuse to get outside every day just into the back where I live. The exercise is nothing too intense but getting some air. I’ve walked A LOT…I’ve never walked this much in my entire life. I’ve walked around this entire city three times over. That’s been good.

I’ve also been helping some friends with some projects. I’ve also been trying to explore other avenues of creativity. This is a good opportunity to explore other things I didn’t do so often. I tried my hand at writing a little bit. Currently, I’m trying to write a short film. I don’t know how, if or when anything will ever come of it. But the point is for me to exercise my creativity in a new way since I can’t be on the stage right now.

I do want to finish the short film and find other related elements of my creativity. I also like writing songs and working on my instrumental skills. I play a little bit of piano. I’m not exceptional but I can work on it.

Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams?

Ya know, I’m not one as a kid myself like I should be doling out wisdom but…I would tell other artists just remember why you chose this route in the first place. Those reasons are still valid even though the avenue has changed. For most artists, we want to perform, we want to create, we want to tell stories and there’s a need for that. There’s always been a need for that. Regardless of what is happening in the world, we artists will come back again.

Speaking for myself, it was never really about the paycheque because we know what this life could be like. It can be very tricky to get that pay cheque and there’s also A LOT of work involved. The pay cheque was not the leading motivation for me to become a performing artist.

The reason why we became performing artists is still there. It’s still valid and will be needed more than ever. We’ve seen in this time how much it is needed from people performing from their balconies earlier at the beginning of the lockdown.

There’s a need for performance. Stick with it. We’ll be back some time. We will be.

To the new theatre graduates: This is a really good time to hone. You’ve just graduated but keep digging into yourself and into your craft. Keep learning and developing. Try new monologues. Now’s a good time to beef up your audition material. You’ve got plenty of time to select monologues and songs.

It’s also a great time to create as well. Obviously, the time of a pandemic is not ideal for the new graduates, but this isn’t the end. You’ve just spent a bunch of money at theatre school so at least give it a chance.

I’m taking my own advice. I’ve actually increased what I’ve normally been doing. I would normally see a vocal coach once a week. She was also an overall coach for me. We’d go over monologues, text work, and breathwork. Now we’re meeting four times a week at least via Skype. I’m just trying to improve. I’m trying to be the best I can be.

Do you see anything positive stemming from this pandemic?

With all respect and understanding to anyone who has lost anybody on account of COVID or who has lost a job or financially, I actually see a lot of good. Whether we want to call this ‘The Great Intermission’ or ‘The Great Pause’, this was something that was needed for all of us even outside the theatre industry. I think a pause was necessary.

Our pace of life was, for many of us, a little insane if you think about it. Everyone’s running around constantly trying to run the rat race, busy, busy, busy and we’ve become so addicted to this need to be busy. I think that sometimes comes at the expense of our relationships, at the expense of our physical and mental health, at the expense of our spiritual health.

We need to take the time to pause and to see what’s really important and valued and valuable in life. So, this pandemic was a necessary thing. I think now we’re seeing connection. I’ve connected to people to whom I haven’t spoken in a long time and it’s really been nice. My relationships have gotten a lot stronger throughout this even though I haven’t been able to see others in person all the time.

I found everyone has just been a lot more vulnerable. Even the conversations I’ve had with friends, the tone of the conversation has shifted especially in America. Everyone now is in this place where we’re not so distracted. We can think about things in a deeper way, we can have conversations in a deeper way, more healing in our lives because we’ve been forced to.

It’s time to heal. I really do. It feels very rough, tumultuous in the world but I think that’s what is needed for real healing to come. We have to see these things clearly.

I see that we’ll also be a little more careful in the future. More people are washing their hands. I was always an avid hand washer.

In your informed opinion, will the Toronto and the Canadian performing arts scene somehow be changed or impacted on account of the coronavirus?

Yah, it’s undeniable. There are going to be impacts that are positive and negative at the same time. We’re seeing theatre companies struggle, amounts of money being lost. We don’t know what this is all going to look like. There will definitely be safety protocols in place.

It’s going to be strange in the beginning because I don’t think it’s going back to the way it was before.
We’re seeing a lot of online work now happening. We have to at this point.

There’s a lot of conversation going on and talking since we’re not back to work yet. There will be a huge call for different inclusions in theatre. Those calls have been happening for quite some time. I didn’t see the Indigenous round table discussions going on at Stratford and I really wished I could have. I was mostly just reading what was happening online.

There have been a lot of courageous people coming forward to have these tough conversations. As a black man myself, I found myself very affected by a lot the stuff that was happening in the US. There is a lot of conversation about race relations in every industry, really, and generally in life.

It’s been a very emotional moment for me. I found myself coming in and out of a conversation and how I can pay attention to the conversation because I found myself going in and out because it was a lot. I hadn’t realized just how much it was affecting me and I had to control myself and breathe when there was too much information coming in. There’s been life to distract me and to keep me busy and during this time it’s really gutted me at points in ways where it was too much. When that occurred I got off Facebook, I got off online, and put the phone down as I couldn’t take it anymore. It was starting to affect my mental health.

What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon?

I have very mixed feelings about this. I understand it. And we’re doing what we can because we don’t have very many options and people want to continue to work and we want people to have content to look at. I appreciate streaming that is done in the most creative way we can.

With this pandemic, it has become an onslaught of watching through boxes all the time with people staring into a camera, and it gets to be tiresome to look at. But I understand this is avenue that we need to reach people in their homes.

That being said, you can never replace a live performance. The reason why I love live theatre so much – there is an actual exchange of energy in the room between the actors and the audience, the musicians, or whatever it is. There’s a spontaneity taking place, hearing the silence together, hearing the breaths together, feeling those moments together is what it’s about and that can never be replaced by a screen to me. You cannot put a screen there and satisfy me.

The screen will pacify us for a time. It’ll do what it does for a while, but I just want to get back to being in the room. That’s why we do this.

Streaming can be difficult because there’s so much grey area with what the rights are, what is permitted, not permitted, and how much money is going to be paid to Equity scale. It’s a very complicated time because there are so many unusual performances. There’s still a lot to figure out there with streaming.

What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now?

The energy exchange is intoxicating but beyond that, performance has power. It has such incredible power and some of the greatest movements were fuelled by performance. Performance has the power to change people, to impact people in ways that we don’t even realize.

Given all the craziness going on right now, the irony is we now need performance more than ever. There are so many stories that can be told. It’s a healing thing. Going to a good performance is a healing experience for everyone involved and that’s what I really love about it.

I’ll never forget sitting and hearing a performance, or even in a church where you hear someone sing and it was like they were channeling something else. And with that being transmitted from them to me sitting there and tears welling up because I feel extreme excitement in that way, I love it. And if I can do that in performance to someone else, I love it.

With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews:

a. What is your favourite word?

Reconciliation. I like the sound of the word, I like the way it rolls off the tongue. I like the meaning behind the word.

b. What is your least favourite word?

No. Don’t tell me No. I don’t like it. I want to be able to do whatever I want to do it.

c. What turns you on?

Compassion and empathy, and open-mindedness is a big one. Humility – These are really sexy words, and I want you, Joe, to put that statement in my profile (Kyle says with a laugh).

d. What turns you off?

Willful ignorance and a lack of compassion.

e. What sound or noise do you love?

I love the sound of a pencil writing on a single leaf of lined paper. I don’t know what it has to be lined directly on the desk, not in a binder. It has to be one sheet, on the desk, with a pencil, and writing across. I love that sound and I don’t know why.

f. What sound or noise bothers you?

A cat purring. It weirds me out. Also paired with the vibration of the sound coming from inside them. I know, it’s weird, but it’s the sound of purring that weirds me out. I do like cats, but when they purr it gives me the shivers. My sister pointed that out to me when I was younger and I couldn’t recognize it then.

g. What is your favourite curse word?

Bomboclaat – it’s Jamaican. It’s just a curse word. It’s hard to translate, almost like the ‘f’ bomb. What is your least favourite curse word? That is a good one…that’s a tough one because I’m generally a fan of curse words. Any word that is derogatory to any race, gender, identity, I don’t particularly like. There are some boring swear words like shit, asshole, I like to get creative.

h. What profession, other than your own, would you have liked to attempt?

I always was interested in surgery. We used to watch surgeries in my home. My mom used to put them on. Some people would be grossed out by it, but I wasn’t. I could be eating dinner and watching an operation happen and I wasn’t fazed by that.

I was told by my Grade 11 Biology teacher whom you know, Joe, that I should never be a surgeon because I had terrible technique.

I’m also obsessed with space – astrophysics. If I could be an astronaut, I’d go.

i. What profession would you not like to do?

President, politics. I would never want to be president. I would never want to work in politics or in that realm. I understand activism, I understand the importance of politics, I respect it. But it’s just a whole other thing that I don’t connect with there. And there’s too many games, back doors. It’s a tough job.

We need someone to run the country, but I don’t have any interest in doing it. My ego is different. It’s more about importance.

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

“Let’s party. Just turn up. Here’s some music. Let’s have a good time. Relax. Breathe.”

To follow Kyle, visit his Instagram: @thekyleofkyles.