Back 'Witness for the Prosecution' by Agatha Christie Now on stage at The Royal George Theatre, Niagara on the Lake until October 13. Courtesy of The Shaw Festival website Geoffrey Coulter, actor, director, adjudicator, arts educator “The Shaw Festival bears witness to this fine film noir take on Agatha Christie’s courtroom whodunit, firmly planting tongue-in-cheek – and it’s terrific.” Agatha Christie’s plays are well known for their wordy dialogue, intricate plots, spurned lovers, murder, betrayal and double-cross. Most of her work was produced for mid-twentieth-century audiences with all the sentiments and attitudes of a bygone era. “Witness for the Prosecution” was a departure from her standard narrative of suspects congregating in an old home and acting all suspicious. Here, Christie adapted a 1925 short story, and the full-length version premiered in London in 1953. She had two other plays running simultaneously, “The Mousetrap” and “Spider’s Web,” making her the only female playwright to have three plays running simultaneously in the West End. A feat unbeaten to this day. Of course, “Witness” is chock full of dated stereotypes and melodramatic overtones. The Shaw Festival’s production brilliantly embraces the campiness, presenting this version as a film-noir homage to Billy Wilder’s 1957 classic big-screen thriller starring then-Hollywood heavyweights Charles Laughton, Tyrone Power and Marlene Dietrich. When I say brilliant, I mean that for half of the first act, you’re not sure whether to take things seriously or whether the laughs are intended. This is where director Alistair Newton adroitly gives his audiences the wink-wink, nudge-nudge. I’ll admit it confused me at first. Several scenes weren’t played as a send-up. The courtroom scenes are high drama. But then I realized that this smattering of melodrama signals that we can’t take this all too seriously, so why bother? His cast is serious about not taking themselves too seriously! The affable Leonard Vole (Andrew Lawrie) is being tried for the murder of a wealthy woman, and legendary lawyer Sir Wilfrid Robarts (Patrick Galligan) has chosen to represent him. Unfortunately, Leonard's alibi depends on the testimony of his aloof and sultry wife, Romaine (Marla McLean). Yes, Leonard has the motive, but did he do it? A series of puzzling revelations unfold. As the curtain rises, we’re in Robarts’ legal chambers, where EVERYTHING is, well, in black and white. Karyn McCallum’s striking monochromatic walls, furniture, props, and paintings make us feel like we’re in a 1950s movie. Ingenious! Even the fireplace flickers colourlessly. The same inspired grey-scale design is seen in the grandiose courtroom at the top of Act 2, garnering audience gasps and whispers. Judith Bowden’s spot-on 50’s costume design complements this monochromatic design with everyone wearing similar shades of grey, black and gauzy white. Only Romaine’s form-fitting ensembles pop with primary colours. As a further nod to the movie, sound and music designer Lyon Smith punctuates critical scenes with authentic jazzy, modernist music scores from the fifties. When sultry Romaine slinks on and offstage, she’s accompanied by smoky sax music and melodic vamps. Siobhán Sleath flawlessly recreates the era's film mood lighting. Her high-contrast positioning of light fixtures and extensive use of shadows and projections prove she’s aced the style of German expressionism that influenced an entire genre of filmmaking. But it’s Newton’s direction and dedicated cast that seriously sell the campy double-crosses and plot twists. Everyone is convincingly British – and European - with consistent and authentic accents, mostly. Many play multiple roles. As the meek Leonard Vole, Andrew Lawrie is thoroughly believable in his naivete. Still, his speedy and monotone (and sometimes quiet) line delivery in Act One bordered on tedious, though he did have beautiful moments in the courtroom scene in Act Three. As his wife Romaine, Marla McLean is having a grand time as the sultry femme fatale, strutting like a Paris fashion model, pausing for a wink or two to the audience. What a joy to see Shaw veterans doling out their considerable talents. Fiona Byrne has remarkable comedic subtlety as the busybody secretary Greta and Shawn Wright is more than up to the challenge of his dual roles of legal assistant Carter and pompous Judge Wainwright. Patrick Galligan as Leonard’s lawyer, Wilfred Roberts, and Graeme Somerville as prosecutor Myers shine in act two’s courtroom scene as they deftly trade melodramatic barbs and zingers. These gentlemen are exceptional, their dialogue and timing so well-rehearsed it seems like the first time they’ve spoken them. Kristopher Bowman makes a stoic solicitor as Mr. Mayhew, while Martin Happer swaggers on and off stage as the self-absorbed Inspector Hearne (looking every bit an American private dick sporting a floppy fedora and oversized trenchcoat). Lawrence Libor has much fun playing a side-kick detective, policeman and nerdy Thomas Clegg. Cheryl Mullings as Dr. Wyatt/Mrs. Barton testifies with a short speaking part, which deserved more expressive delivery, while Ryann Myers, as the Courtroom Clerk/The Other Woman, spoke far too quickly, rendering her almost unintelligible. Monica Parks shared this same lack of clarity as housekeeper Janet MacKenzie. Her thick, muddled accent made her nearly impossible to understand—a note to voice and dialect coach Jeffrey Simlett. This show is great fun, and thanks to director Newton’s light-hearted treatment, we forgive the cringe-worthy, misogynistic lines like, “Ungrateful beast, women!” and “If you were a woman, Miss Plimsoll, I would strike you.” He knows the show is dated and wants you to know it, too. He’s conceived a genius approach to making this aging classic accessible – and highly enjoyable - to a modern audience. Advertising for the 1957 movie version and this play pleads with audiences not to reveal the “shocking” ending. Today, it doesn’t have the shock it once had. It's more like smiling satisfaction. At the sold-out performance I attended, audiences were thrilled and rewarded the company with a standing ovation. If anyone can accuse Shaw of providing an entertaining, highly stylized and brilliantly imagined interpretation of a dusty Christie classic, I’d say guilty as charged! Running time: Running time, approx. 3 hours with two 15-minute intermissions. The production runs until October 13 at the Royal George Theatre, 85 Queen St, Niagara-on-the-Lake, ON L0S 1J0. For tickets, call the Box Office at 1-800-511-7429 or visit shawfest.com The Shaw Festival Presents Agatha Christie’s “Witness for the Prosecution” Directed by Alistair Newton Set and Projections designed by Karyn McCallum Costumes designed by Judith Bowden Lighting designed by Siobhán Sleath Original Music and Sound designed by Lyon Smith Movement Direction by Alexis Milligan Performers: Kristopher Bowman, Fiona Byrne, Patrick Galligan, Martin Happer, Andrew Lawrie, Lynn Laywine, Larence Libor, Marla McLean, Cheryl Mullings, Ryann Myers, Monica Parks, Graeme Somerville, Shawn Wright Previous Next

Back Fall for Dance North – UNBOWED: 2023 Signature Program 2 – Credit: Erin Baiano. Company from Oh, Courage. Geoffrey Coulter, actor, director, arts educator Fall For Dance North did it again! Toronto’s Premiere International Dance Festival is back with its ninth season chock full of eclectic dance companies of unparalleled talent and artistry. Creator and Artistic Director, Ilter Ibrahimof curated a rapturous 2-hour compilation of the dynamic dance stylings of four visionary companies, including one Canadian Premiere. FFDN “celebrates, nurtures and amplifies established and emerging Canadian dance artists…” offering mixed bills that include performances by large and small-scale local and international companies with EVERY seat for the incomparably low price of just $15. Extraordinary value for extraordinary performances! I caught this year’s program on the closing night of its two-week run. The energy from the audience and performers on this Thanksgiving weekend was palpable as the curtain rose to a Canadian premiere by a Tony-award winning choreographer, a collaborative piece with graduates of Toronto Metropolitan University’s School of Performance, a stunning duet with long-separated African brothers, and a poignant portrayal of the life and career of a civil rights icon. The stage was mostly bare with occasional simple props and inventive, evocative lighting. Act one began with the Canadian premiere of “Oh Courage” performed by the Gibney Company and choreographed by Tony and Emmy-Award winner Sonya Tayeh (Moulin Rouge, So You Think You Can Dance). The eight-member troupe performed to original music composed by The Bengsons (who were to play live on stage, but a band-member’s recent illness prohibited their travel, so backup recordings filled in). The company mastered Tayeh’s intricate modern style, mixing athleticism, and creating unique shapes and levels with their bodies. An ease of fluidity followed each hard-hitting beat. With a bare stage save for set designer Rachel Hauck’s quadrangle of four lights on tall stands with a stack of speakers at its centre, the company used the space superbly, allowing each member of the company to impossibly writhe, kick, bend, and flex. Costume designer Marion Talán de la Rosa’s baggy, three quarter length pants and loose-fitting sleeveless tops, enhanced the dancers’ movement allowing them a mesmerizing freedom. Asami Morita’s overall warm, dim, and moody lighting sometimes left the stage too dark, often masking facial expressions. The occasional use of strobes and bright beams shooting into the audience served more to blind this reviewer than add any artistic value. I wasn’t sure what story Sonya was telling, but it didn’t matter. This company told it with passion and artistry. Next up was Light-Print, choreographed by Jesse Obremski and performed by a dozen recent graduates of Toronto Metropolitan University’s School of Performance. In the explainer video preceding the performance, Obremski explains this modern piece to be a personal discovery of what it means to be analytical and factual. The performers begin in what seems to be a lab or research facility (an inspired design by Margaret Steinbach) exploring how ideas can overwhelm, ignite, and excite our conscious and collective energies. Though the program notes proclaim how this piece intends to “enlighten and remind us about the importance of constant self-discovery”, I wasn’t always clear on what the discoveries were and why they were important. Even the lab coat costumes by designer by Keiko Obremski, in collaboration with TMU's wardrobe department, didn’t fully convey the self-discovery these characters were supposed to be experiencing. It was all a little muddled. Lighting designer Asami Morita’s overall dim lighting is punctuated by the amber hits from hanging fixtures, swinging cleverly at different heights, and providing a unique interactive prop in addition to being highly practical. An original melancholic, bellicose, score by composer Trevor Bumgarner provided a rich musical canvas for these young dancers to stretch, writhe and roll to. While this cadre of dance grads showed impressive technique and superhuman flexibility, their movements lacked the passion and intent that was in such abundance in the evening’s other offerings. After a brief interval Act 2 opened with the exquisite narrative, “My Mother’s Son”, a duet performed by South African brothers Siphesihle and Mthuthuzeli November and choreographed by Mthuthuzeli November (who also provided the music). Both talented dancers, the brothers were separated as children to study at ballet schools a world apart – Siphe, here in Toronto at the National Ballet of Canada and Mthuthuzeli with Ballet Black in London, England. They come together for the first time since their childhood in Zolani to dance an incredibly powerful work inspired by their relationship as brothers. The result is simply breathtaking! The thoughtful and emotive choreography speaks to the pain of geographical separation and the enduring bonds of fraternal love. The intimacy is often overwhelming, the emotions raw and authentic, the dancers; magnificent! The narrative is impeccably told through not only the expressive choreography but through superb lighting that transports us through time and place. The shafts of harsh light beaming down from above perfectly evoke the trees of an African jungle, where we first encounter the brothers. The changing of shapes, angles and colours superbly and subtly accentuate their emotions of the love, angst, regret, sadness, reunion, redemption, and celebration. Clad in their own traditional African kilts, the story-telling these men do with their bodies is simply captivating. Siphe has been an undeniable force and integral part of the National Ballet of Canada while Mthuthuzeli’s work as a dancer and choreographer in London, England with Ballet Black continues to dazzle and win prestigious awards. No wonder then that after not breathing for 25 minutes, the audience leapt to its collective feet in rapturous applause. The evening concluded with another absolute gem – Ballet Black’s “Nina: By Whatever Means”. This love letter to musician, performer and civil rights activist Nina Simone isn’t just a dance number. This is theatre, a “playlet” brilliantly combining spoken word, ballet, jazz, and blues. Again, choreographed by Mthuthuzeli November, and performed by the captivating company of artists of Black and Asian descent, this thrilling and imaginative piece takes us through Simone’s turbulent and influential life. Jessica Cabassa’s period costumes are spot on, from Simone’s post war early life in the Methodist deep south, to her swanky high life in Atlantic City nightclubs, cuts, fabrics, and textures were accurate and convincing. David Plater’s inspired lighting design easily transported us through his use of soft, muted, amber tones evoking Southern heat while adding harsh, confining spots to piano classes, dressing rooms and nightclubs. Music by Mandisi Dyantyis and Mthuthuzeli November (and recordings of Simone herself) is beautifully punctuated with original vocals by the Zolani Youth Choir. This review wouldn’t be complete without acknowledging the extraordinary company of dancers, Isabela Coracy, Ebony Thomas, Taraja Hudson, Sayaka Ichikawa, Helga Paris-Morales, Mthuthuzeli November, Megan Chiu, Love Kotiya and Bhungane Mehlomakulu. Their phenomenal technique and ability to fuse their skills in ballet, jazz, lyrical and contemporary was simply incomparable. Special shout outs to the captivating Isabela Coracy as Nina Simone and Ebony Thomas as The Husband. Their expressive pas-des-deux, performed within the confines of Simone’s tiny dressing room was simply breathtaking, combining raw emotion with seemingly effortless facility. If you love dance or just want to be swept away by dazzling, ground-breaking, thought-provoking theatre that resonates with a modern audience, don’t miss Fall for Dance North’s ten-year celebration next year. Tickets are still $15 each! That’s a value that’s simply unheard of in today’s theatre scene. I can’t wait to see what Mr. Ibrahimof has up his sleeve in 2024 as FFDN celebrates ten remarkable years making audience fall in love with the transformative power of dance. Previous Next

Back Iain Moggach “If the last few years have taught me anything, me writing these things down and putting them out into the universe is half of the battle. And whether it is me or a successor at the helm, it will happen.” Khaleel Gandhi Joe Szekeres To Barrie, Ontario: you are one lucky city to have Iain Moggach promoting your theatrical artistic community. The youthful-looking Theatre by the Bay’s (TBTB) Artistic Director is one to watch. What’s foremost for him is his commitment to ensure Barrie’s artistic endeavours, especially in the theatre, remain noteworthy. For example, (and according to his website), much of his work with Theatre by the Bay has been on education and training for emerging artists. Since 2020, he has been the lead instructor of the Emerging Director Project, created the Barrie Theatre Lab to support new play development, and he also launched the Simcoe County Theatre Festival to provide a platform for local emerging artists. I was fortunate to have attended the latter a few years ago. Just recently, in 2023, Iain was formally signed to The Talent House, a leading agency in the entertainment industry for over 35 years. This young artist is going places. I firmly believe that. I’ve continued checking in on artists I profiled three years ago when our world changed. The link to my first conversation with Iain is at the bottom of this profile. He and I once again conducted our conversation via email. As a professional artist, he feels very satisfied that things have never been better. He has had the chance to work with incredible artists and directed shows of which he is incredibly proud: ‘The Ghost Watchers,’ ‘A Scandal for All Seasons’ and ‘Icemen.’ While the pandemic has made it harder to get their work out of Barrie, a goal in the plan, the company has been able to do so. There was a production of ‘Mno Bimaadiziwin’ about Indigenous experiences in Orillia at the Orillia Opera House in 2021 (the first indoor theatre production for many of our audience members since the pandemic had started). I did get the chance to see it, and it was worth the trip to Orillia. In partnership with Theatre Collingwood, TBTB brought both of its 2022 full productions to Collingwood and presented Mary of Shanty Bay at the church that the real Mary O’Brien and her family built. Iain can’t speak about his 2024 show yet; however, I am watching for it and will share the title when it becomes available. Iain is also ‘through the woods’ on a book he is adapting and will be able to announce within the next year if everything goes according to plan. Like all of us, though, the last three years have taken its toll even on our hopeful, enterprising young people who have much to give back to the community. I am concerned for these young people as they are the ones who are going to lead us forward into the future. On one side of things, Iain has had a lot of sleepless nights and periods of overwhelming anxiety, despair, and frustration. On the other hand, there is incredible joy, relief, and success, especially in reading about his accomplishments. Moggach recognizes that such considerable fluctuations in emotions as regularly as the last three years have taken their toll on him. He feels like a very different person than he was three years ago. While an eternal optimist, that optimism has been wrung quite dry. He chooses to keep going. That’s admirable, young man, but please never forget that you and your family come first. The Barrie community (and me) want you to enjoy life and the fruits of your labour with your family and community in that respective order. Moggach hasn’t lost his quick wit during these last three years. He shared he had an acting teacher at George Brown who would use making theatre in Barrie as the punchline of a bad joke. He quoted verbatim what the instructor used to say in class: “You can be a great actor, or you can go and do work in Barrie.” Where is this instructor’s professionalism? Ugh!!!!!!!!!!!!! Moggach has something else planned. Instead, his goal is to swap that asinine perspective and have the broader theatre community be excited (and perhaps a bit jealous) about what is going on in Barrie and be amazed by the quality and quantity of work and calibre of artists coming out of the community. Iain also hopes that the artists who live in the community feel like they always have a place in TBTB. It is also hoped that TBTB can provide as many ladders as possible to ensure a place for them at each step of the local theatre community’s journey. What are some areas of growth Moggach still sees for Theatre by The Bay? He recognizes that the most urgent task is to capitalize better on community goodwill and turn it into dollars in its bank account. TBTB also needs to break into the OAC and CCA operating streams – which has never happened before in the company’s 20+ year history. On the artistic side, the theatre has identified gaps in the local community that need to be addressed to keep hiring local artists as high as it would like. Moggach suspects these two things could go hand in hand and lead to the Theatre by the Bay, which he sees clearly in his mind. There is also the hope of bringing TBTB’s work out more broadly. For example, I was highly impressed with ‘Icemen’ in the fall of 2023 and thought how important it would be to bring that production to community centres or stages in smaller regional towns. Moggach mentioned Alliston, for example, and that would be great; however, since I live in the Durham Region, might he consider bringing productions down further south? The same holds true for two other productions I saw that were indeed memorable: ‘Mary of Shanty Bay’ and ‘Bobbie’, which came to my mind. Iain also spoke about possibly bringing these three shows across Canada in the future. He’s just that kind of earnest artistic leader who would and could make this happen. I’ve asked some artists I’ve profiled where they see themselves again in the next five years. Some have chosen not to gaze into that crystal ball as they see no benefit, while others have pondered the future. Moggach was clear on his five-year plan for TBTB and wanted to share the results. Actually, 2024 will mark the end of the plan that started in the fall of 2019. Despite the pandemic, TBTB has been able to achieve many of the goals that it had set out. TBTB is now twice the size that it was in 2019. It launched much-needed community development projects like the Simcoe County Theatre Festival and the local Indie Producer Co-op. The company dramatically increased the diversity of its storytellers and artists. A few things couldn’t be achieved, but the company is fine with those being in the next plan. One day, TBTB should own its own space for workshops and classes, auditions, and rehearsals, for instance, but 2024 is probably not the right time for that. He elaborated further: “There are more pressing priorities than that right now. Looking back, I knew developing the first Five Year Plan would be useful, but I think it spoke things into being - as if by writing our goals down, we made them real.” The growth of TBTB has been remarkable for Moggach. For him, an example that comes to his mind is the Indie Producer Co-op. This program has always been a gem in TBTB’s crown, but it has really come into its own in the last few years. In 2022, thanks to the donation of a local foundation, the Co-op expanded to include a local component to help develop the producers of the future in Simcoe County – a much-needed expansion and support for the ecosystem. And then, in 2023, it was expanded again to become a national program. TBTB had participants from across the country who lived and worked in Barrie for several weeks. They met the community, saw the value and quality of the work first-hand, and are now using their skills to support their communities. It is an incredible achievement and a unique way for TBTB to support theatre across the country. Once again, he clarified his thoughts: “As I think about it, what the expansion of the Co-op exemplifies is how TBTB is growing. On one side, we are bringing our work ‘out’ and getting people from across the country to take notice, while on the other side, we are addressing issues in our local ecosystem to support its growth!” Go to the theatre’s website: www.theatrebythebay.com and check out more of what has been going on in Barrie. There’s exciting stuff. And make sure you say hello to Iain (and even say that Joe sent you). This polite, industrious and personable fellow will put you at ease very quickly as he shares his thoughts about the future of theatre in Barrie. And it’s looking good as far as I’m concerned. Link to Iain’s first profile: https://www.onstageblog.com/profiles/2021/3/22/theatre-conversation-in-a-covid-world-with-theatre-by-the-bays-artistic-director-iain-maggoch?rq=IAIN%20MOGGACH Previous Next

Back Michaela Washburn Moving Forward Denise Grant Joe Szekeres Before I interviewed Michaela Washburn this morning, I had to go back and see how many performances I’ve reviewed where she has appeared. I counted five and I think I might be missing a couple. Personally, I have never forgotten how powerfully visceral her performances have been on stage, particularly in three productions: ‘This is How We Got Here’ at the Aki Studio, ‘Almighty Voice, and his Wife’ at Soulpepper, and ‘Guarded Girls’ at Tarragon. Michaela hails from Alberta and is a proud Métis artist of English, Irish, French and Cree descent. She is now based in North Bay, Ontario. Michaela’s expertise spans theatre, film, television, hosting, writing, spoken word, clown, improvisation, workshop facilitation, and stand-up. An award-winning actor, Washburn also has multiple nominations - most notably, for the Ontario Arts Council’s Indigenous Arts Award and the K. M. Hunter Artist Award for Theatre. She has performed internationally at festivals and theatres in Wales, Aruba, and across Canada and the United States. She studied clown with John Turner in 2001 and graduated (on scholarship) from the Second City Training Center in Toronto, in 2003. Outside of that, and various workshops along the way, the learning of her craft has been primarily experiential. Her post-secondary studies in the late '80s were in nursing and, during the course of our telephone conversation, I discovered she had also been a high school guidance counselor. 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? Like many folks, I too have had my ups and downs during these last five months. There have been days where I feel confident and hopeful about the future, and there have been other days where it has been almost impossible to feel anything beyond grief and despair. As my chosen career and the whole industry of live performance has come to a screeching halt, I realize now, that for me, it is a matter of acceptance, and adjusting to the situation by focusing what I can do versus what is beyond my control. Were you involved or being considered for any projects before everything was shut down? I was booked from March – December 2020 from Banff to Victoria to Winnipeg. It was to have been my first time in Banff as part of the Indigenous Playwrights Circle followed immediately by the Banff Playwrights Lab. There would have been an intersection with many international artists and the incorporation of several languages within the work. It was to be a highlight of my year, and unfortunately, all of that work is now gone. I have a Great Aunt who is turning 94 this year, and so I also had plans to visit her in Vancouver and record an interview with her. She is one of the last of her generation and holds so much knowledge of our family’s history which I was hoping to capture on film. Describe the most challenging element or moment of the isolation period for you. I was living in a basement apartment in Toronto and was finding it incredibly isolating and increasingly difficult to get outside. I was often anxious, as when I was out for walks during the day, I began to notice less and less physical distancing and few people in the area were wearing masks. There was a small backyard but a family with a toddler lived upstairs. I understood completely that the backyard was the only space where the child could safely play, and I didn’t want to jeopardize that. Since then, I’ve moved out of the city, which has helped a great deal. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? I am one of the Ontario Councillors for the Canadian Actors’ Equity Association, and I serve on several committees as well. There is a great deal of advocacy work being done which has been keeping me busy during these last five months. I was also one of the folks who recently stepped forward to help coordinate the online panel discussion and subsequent take-over of the Stratford Festival’s social media platforms for the Indigenous community in June. I felt proud to offer messaging reminding us all to be kind and patient with ourselves and one another as we navigate this extraordinary time. 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? For all performing artists who have been affected by COVID – 19 – remember that storytelling is intrinsic to our well being. It is a practice that has seen humankind through many a disaster before and we will find a new way to experience live performance once again. To the new theatre graduates: Trust. Have faith in your dreams and in the gifts you carry within you. They are your medicine. Art is love, and love heals. If you have a dream and are driven to do it, then you’re meant to do it. Trust that. Dreams may also shift and change, and to lean into that rather than fear it. All things happen for a reason. I firmly believe that. Do you see anything positive stemming from this pandemic? As I can only speak for myself, this giant pause has offered me the opportunity to re-evaluate what’s important and to examine closely the impact of my choices on my personal health and balance, that of my fellows, the earth, and all the creatures we share it with. It has revealed many areas that desperately require immediate attention, socially and environmentally, and has reinforced that we need to work together to practice more respectful, responsible, and sustainable ways of being. Identify the actions we can take, and then take them. In your informed opinion, will the Toronto and North American performing arts scene somehow be changed or impacted on account of the coronavirus? For sure. There is so much to consider for the safety of everyone when we return to our theatres from the actors and crew to the audience members. Safe social distancing will be paramount when we first return, and I believe that the inability to fill our houses will have a significant impact on revenue, and thus whether or not some theatre companies will even survive. All artistic teams are going to have to get creative and innovative. In fact, several conversations have already begun across the country, to discuss how and what protocols and procedures will need to be in place, and who will be responsible for their implementation and maintenance. But we’re creative folks! It’s what we do. dream and build and manifest..so I have total faith that we will find our way. 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? I’m not personally interested in participating in live streaming, although I am happy for those who have found expression there helpful. I imagine that it may become part of the performing arts scene, and in fact, think that folks will continue to be creative in how they adapt their crafts. For me, I feel like what’s missing in live streaming is the conversation that is at the heart of live performance… sharing the same space and time together. I am happy for folks who are enjoying the online medium, but if I am to work digitally, my preference is to do so in film and television. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? I love the transformation and resiliency which is the crux of being a good storyteller. We have the ability to adapt to whatever situation in which we may be placed, and we must hold fast to that and remember that these are transferable skills. As storytellers, I love that we are able to utilize life as a toolbox from which to build an imagined reality, and in this case, an entirely new one. 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 sounding word? “Chum” – not what you throw in the water to attract sharks. ‘Chum’ is the word I use to refer to most of the people in my life. It’s a term of endearment that I love to use. b. What is your least favourite word? Hate. I try not to use that word at all to the best of my ability. c. What turns you on? Kindness d. What turns you off? Aggression. e. What sound or noise do you love? The laughter of children f. What sound or noise bothers you? Crying children whom I can’t comfort or the suffering of others over which I am powerless to help ease. g. What is your favourite curse word? “Shitballs” What is your least favourite curse word? In the spirit of my mom, I’d love to eventually surrender vulgarity altogether. I remember reading somewhere “The absence of profanity will offend no one” and I really like that idea. h. What profession, other than your own, would you have liked to attempt? I often miss the work I did with the youth as a high school guidance counselor, and many times have considered becoming a therapist. I would also like to become a skilled tradesperson, as I believe things like carpentry, painting, drywalling, and home repair are important skills to have. i. What profession would you not like to do? Taxidermy j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You rose to your name, Shining Light, and left the world a better place for it. Now come, your ancestors are eager to dance with you.” To follow Michaela, visit her Twitter: @themichaelaw Facebook: Michaela Washburn Previous Next

Back 'Bed & Breakfast' by Mark Crawford Now onstage until June 30 at the Port Hope Capitol Theatre, 20 Queen Street. Now onstage until June 30 at the Port Hope Capitol Theatre, 20 Queen Street. Joe Szekeres “Make a reservation for actor/playwright Mark Crawford’s BED & BREAKFAST at Port Hope’s Capitol Theatre. Smartly directed by Rob Kempson with sharp, delineated performances by Kyle Golemba and Amir Haidar.” Brett (Kyle Golemba) and Drew (Amir Haidar) are weary of their cramped downtown Toronto condo and the disappointment of seven failed home bids. Their lives take an unexpected turn when Brett, upon the passing of his beloved Aunt Maggie, inherits a house in a small town east of Toronto. He and Drew decide to seize this opportunity and start a bed and breakfast in Maggie’s historic home, setting the stage for the unexpected in their lives. The couple experiences comic woes running a B&B. As members of the LGBTQIA+ community, Brett and Drew also face friction in this small town for who they are. By the end of the play, the two of them discover that life is not always straightforward when trying to escape complicated situations. I’ve heard of playwright/actor Crawford’s script before. I only knew it was a two-hander and involved the actors playing multiple characters. What a delight to finally see it live. ‘Bed & Breakfast’ is not an easy play to stage. From a visionary perspective in comic timing, there is much to consider in understanding the vast array of who each character is and their connections to each other, as well as their importance in moving the plot events forward. Ensuring Crawford’s intuitive script remains timely is quite a challenge. This terrific opening night performance met this challenge head-on with gusto. First, Capitol’s Artistic Director Kempson's staging of the play in June makes complete sense since this month recognizes the LGBTQIA+ community. ‘Bed & Breakfast,’ however, is more than just recognizing its roots within the community—it is far more. ‘Bed & Breakfast’ emphasizes the importance of belonging and the feeling of having an essential place within any established community. Joyce Padua’s costume designs purposefully characterize the vast array of characters who enter and exit the condo and the house. Her split-level set design of Brett and Drew’s intimate Toronto condo also nicely outlines the lower level of the B & B. The few steps up and down signify other parts of the house. Michelle Ramsay’s clearly defined lighting design focuses attention where needed, especially in several monologues Brett and Drew deliver to the audience. Round of applause to La-Nai Gabriel’s sound design when the precision and timing of the cues add much to the comedy of the moment. Rob Kempson's assured and confident direction of the subject content does not become preachy or ‘in your face’ at any time. Instead, he guides Kyle Golemba and Amir Haidar to sculpt authentic people who are vital members of all communities everywhere, regardless of their personal lives. Brett and Drew’s struggles, wins, losses, joys, sorrows and laughs have become mine, too, within the two-hour running time. There are moments where I rooted for Brett and Drew and other times when I could empathize with their sadness, loss, and frustration, especially in some of the horrific treatment they sometimes endured from others in this small town. Kyle Golemba and Amir Haidar are the reasons for seeing the show. They’re the kind of neighbours I’d like to have. They’re personable guys with whom you could have a beer or a cup of coffee and talk about everything or anything. They deliver likeable performances. They’re funny. They can be serious. They’re lively. They’re also in physically good shape for all the running around they do on the Capitol stage. Kyle and Amir do a lot of running and quick movements as they become the next character in mere seconds or a quick flourish, perhaps donning a specific piece of clothing or assuming a pose. There is one moment during the second act where all hell breaks loose in the B & B. Kempson has intricately staged that moment with impeccable pacing. I put my pen away, closed my notebook, and watched two solid actors whisk me away to what they know how to do—perform with focus and remain in the moment with intent and purpose. At the close of that scene, the audience erupted into a wild round of applause for Golemba and Haidar, which was appropriately earned. A feel-good opening night production with tremendous heart and joy of life, this ‘Bed & Breakfast’ travels to Winnipeg in the fall to entertain audiences with humour, pathos and drama. Before it leaves Port Hope’s Capitol Theatre, make that reservation and visit this local production. Running time: approximately two hours and ten minutes with one interval/intermission. ‘Bed & Breakfast’ runs until June 30 at the Port Hope Capitol Theatre Mainstage, 20 Queen Street. For tickets, visit capitoltheatre.com or call (905) 885-1071. PORT HOPE Capitol Theatre presents ‘BED & BREAKFAST’ by Mark Crawford Directed by Rob Kempson Set and Costume Designer: Joyce Padua Lighting Designer: Michelle Ramsay Sound Designer: La-Nai Gabriel Dialect Coach: Alison Deon Associate Sound Designer: Christie Heriot Stage Manager: Tamara Protić Assistant Stage Manager: Wei Qing Tan Performers: Kyle Golemba, Amir Haidar Previous Next

Back Patrick McKenna Canadian Chat Janis Harvey Joe Szekeres My immediate family and I recall how much we really liked Patrick McKenna’s work in two shows for which he is well known: despicably ruthless and underhanded Marty Stephens on ‘Traders’ and as loveable nerdy bespectacled Harold Green on ‘The Red Green Show’ broadcast from fictional Possum Lodge. My family and I were impressed at the performance range McKenna revealed in these two opposite characters. Of most important note is the fact he was recognized for his versatility with 2 Gemini Awards in 1998, for best performance in a comedy series and in a continuing dramatic role for these two roles. A recent Zoom call with Patrick revealed just how down to earth this guy is, and what a good sense of humour he has. He put me at ease quickly. He’s extremely thankful for the opportunities he has been given. Like all of us, Covid made Patrick think about what is very important to him as you’ll see from one of his responses. Patrick has recently completed some voice cartoon work with Sesame Street and YTV. I also learned about his traveling improv group, ‘The Yes Men’, and yes, I do plan to catch one of their shows when they are in the region. I’ve included contact information for ‘The Yes Men’ at the conclusion of the profile. He is a spokesperson for the Golden Horseshoe Marathon for wheelchair athletes, the MS Society, McMaster Sick Kids, Lupus Canada, and Adult ADHD. Thank you so much for taking the time, Patrick. Very much appreciated: Tell me about one teacher and one mentor in your life for whom you are thankful who believed in your pursuit of your career as a performing artist. The teacher would definitely be Steven Gaul; he was my Grade 11 English teacher. He took me to Second City because I was a pretty poor student. I wouldn’t do theatre because you had to wear tights in my mind. He said there was a lot of different kind of theatre so his wife and he were going to see Second City and he took me and another troublemaker to go see the show. I went, “Ohhhh, oh that’s what I want to do. I want to be on that stage (Second City).” He opened that door. And professionally, it was Andrew Alexander from Second City who at that particular time, because I have no training whatsoever, none. Other than being the class loud guy (not necessarily the clown, but I was loud). Andrew was the only one who said I’ve got something. I was the doorman at Second City for a couple of years, and people thought what I was even doing at an audition. I snuck in and away we went. Andrew was the one who said, “Let’s hire Pat.” Andrew was high enough up on the ladder to say, “Let’s put Pat there and see how it’ll go – he’ll sink or swim.” And luckily enough I swam, which was great. I’m trying to think positively that we have, fingers crossed, moved forward in dealing with Covid. How have you been able to move forward from these last 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? I guess I’m probably more cognizant of personal time and giving my time away to people. Work can sometimes do that. You get locked in that wheel and just start running and you realize that everybody is happy but you. I think these last eighteen months have given me the opportunity to say there’s way more I want to experience yet. Giving my time away to other people – that changed a lot. I’m slowing down and prioritizing to decide what I want to dedicate my time. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? Well, quite a bit. A couple of things happened all at once. I turned 61 so you’re into a whole new category as an actor to begin. I’m an old white guy so that’s also happening in the new world and making me step back a few in the line. And Covid stopped production everywhere for quite awhile and made audiences go elsewhere and look for different things to entertain themselves and to fill up their time. You’re splitting any hope you had of coming back that there was going to be a new normal because everyone found a new normal. By the time we come back say with a new CBC show, audiences might be saying they’re into Netflix or Hulu. It’s going to be harder to find a dedicated audience, I think. I also got into a lot of voice work because I have a studio at home. I’m doing seven different cartoons right now. I never really did that before, so that was great. I was nominated for a couple of Screen Actor awards for voice work which is fantastic for me when you start something and you’re acknowledged for it right away knowing you’re going in the right direction. So this has opened a few doors for me. I’ve written a couple of screenplays that are floating around out there too. I wouldn’t have done this unless I had the time to follow through on some ideas. Professionally (and personally), it’s been a hand in hand of walking down the lane and wondering what’s next. In your opinion, how do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? It’ll be interesting because I’m also working with an improv group. We’re called ‘The Yes Men’, we’re three old guys who go out and have some fun. Before the pandemic, we were booked every weekend. It was a lot of fun with crowds. Even in the early stages of the pandemic, we still had a few crowds even though there were some people who weren’t too sure if they could go out or not, do we wear masks? As a group, we decided to just stop as did the world. But watching now when we go back to book the theatres, we hear the hesitation in the voices over the phone of “We’re not sure yet. We’re not sure we can be open.” So there’s a real hesitancy on the part of the management as to when promotions can start once again. I think audiences are going to be sceptical being nudged shoulder to shoulder. Will audiences have to be so far apart that artists and the audiences themselves don’t get a community feeling and understanding that laughter and empathy can bring? That magic might be changed a little bit. I was just up in Iqaluit doing some improv shows and, because of Covid, the audience had to be so far back from the stage and they had to be six feet from each other, there was no laughter, no infectious energy. It became small individual groups around the room who might laugh but there was no collective laugh. That was a real learning curve of how do you communicate now to these people and will theatre do that? Can theatre do that? I think it’s going to be harder for the theatres themselves than the audiences. When they come back, I think shows are going to be huge, glorious shows, a lot of celebration. We saw this in the 20s, 30s, 50s, after the wars. All these big shows in history were a reaction to being shut down for awhile. It’ll be interesting to see how we’ll all pop back. From a Second City background, there will be reaction on every level. I think Second City will take a hard punch because it is such a cabaret experience with audiences shoulder to shoulder. There’s also a real division now of what we can laugh at in the real world. Two years ago it was Trump, anti Trump; now it’s mask, anti-mask. What excites/fascinates/intrigues Patrick McKenna post Covid? Well certainly audiences – that will make me excited to be in front of an audience and for audiences to be there and who can be there to feel free enough to experience that community again. Being on a set that doesn’t feel sick. I’ve been on a few sets where everyone has to go through so many protocols, it’s half a day to go through protocols. By the time you’re ready to shoot, some of us are tired on account of the protocols we’ve had to go through to get there. And if you have to leave set to go get something, then you have to go through the protocols again. I know we’re all over-reacting at times because we don’t want to be that place that perhaps gave Covid to an audience member or to a performing artist. So it makes it so difficult to proceed in an artistic way, there’s no flow. We’re constantly interrupted by reality. The ripple effect over the next five years is going to be felt tremendously within the industry. And that’s been interesting to watch on a set of how that functions. What disappoints/unnerves/upsets Patrick McKenna post Covid? To be honest, I’m going to have say the loss of some friends. There’s been a line in the sand of where some people stand on vaccinations. People whom I personally know who have passed away on account of Covid. I have a lot of close friends who surprised me in the way they are challenging the vaccinations and Covid. They challenged me on who I thought they were, and they were also challenged on who they thought I was. It really brought politics, beliefs and who you really to the forefront, and made you stand there and confront what’s happening. It’s more of a conservative world right now than my liberal point of view. I have to respect that as Conservatives believe their thoughts and they’re going to have to respect the thoughts and wishes of others. Post Covid, there are going to be a lot of different groups regarding who has been vaccinated and non-vaccinated. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? “Good eye.” (and Patrick and I share a good laugh). That’s probably too American. I’d have to say, “Thank you” especially to any teacher along the way who blows support and confidence into an individual rather than negativity. I look back to those people who nurtured strength and confidence in me, thank goodness for them. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would that be? In an odd way, I’d have to say “Thank you” to them as well. Humour is such a subjective thing and that’s a huge lesson to learn especially if you’re going to be in this business. Just because you said something in a certain way doesn’t mean it’s going to be funny. There’s an audience and there are always going to be different ears. I remember there were those who did try to belittle me and say I wouldn’t make it, and I don’t miss that, but I have to acknowledge they made me work harder at being funny. What’s your favourite swear word? “Shite”. If I’m working somewhere and people think I might use the four letter “s” word, and then I surprise them with ‘shite’. What is a word you love to hear yourself say? “Absolutely” What is a word you don’t like to hear yourself say? “No” With whom would you like to share a meal and dialogue about the Canadian performing arts scene? It’s such a big table, really… “Erin O’Toole” What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? “Listen more.” With the professional life experience you’ve gained over the years, what would you now tell the upcoming Patrick McKenna from years ago who was just in the throes of beginning a career as a performing artist? “You have everything you need.” What is one thing you still wish to accomplish both personally and professionally? Personally, I want to be able to tour Scotland with my wife. We promised ourselves that, and then Covid just stopped everything. That’s our go to right away. Professionally, I would like to see one of these scripts I’ve written produced. As I said I’ve been lucky with acting and with voice work, and I’d like to conquer this new mountain of writing scripts and getting them produced. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. Ooooh, there are so many great sporadic ones… To be completely selfish, I would say a second show doing stand up comedy at Punch Lines in Vancouver in 1988. There’s nobody on the stage but you, and if it’s working it’s because of you. What is one thing Patrick McKenna will never take for granted again post Covid? Friends. Would Patrick McKenna do it all again as an artist if given the same opportunities? Yes, but…(and again we share a good laugh) There are a lot of things that I would do better if given the same opportunities as an artist. The opportunities I was given were great, I might tighten things up a little such as listening more. To learn more about Patrick McKenna’s improv group “The Yes Men” (with Neil Crone and Kevin Frank), please visit the website: www.yesmenimprov.com or Facebook: The Yes Men Improv Comedy Troupe or Twitter: @TheYesMenImprov. Previous Next

Back Nathan Carroll Theatre Conversation in a Covid World Wade Muir To connect with Wade, visit https://wademuir.ca . Joe Szekeres Again, I’ve recognized Nathan Carroll’s name when I had seen he had read and liked some of the profiles I’ve been compiling throughout this pandemic. I was wracking my brain in trying to remember where I’ve seen him perform. And it’s wonderful when the artist sends me their bio and I can then say, yes, I’ve seen that particular production. Nathan has performed on stages across Canada, from Vancouver to Charlottetown. His credits include: Next to Normal (Musical Stage Co./Mirvish) (saw this one), Hook Up (Tapestry/Theatre Passe Muraille), Vimy (Western Canada Theatre), Once (Mirvish) (saw this one), and The Book of Esther/Bordertown Café (Blyth). A graduate of George Brown Theatre School, he has been a member of 3 Dora Award-winning ensembles. Nathan lives in Toronto with his dog Henry. We conducted our conversation via email. Thanks, Nathan, for your time: 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? It has been a rollercoaster, and I feel for anyone who has had to deal with my rapidly shifting moods. The lows have been low. But the highs have been, surprisingly, high! The week the pandemic was declared, I came down with another virus that laid me out for a month and continued to make me sick until November. Add a bad living situation and the evaporation of every industry I was working in at the time, and I went dark quite quickly. I remember recoiling at the very idea of participating in online theatre. Things turned around in the late spring when I developed a more positive POV, kicked out my freeloading roommate, and felt the summer coming. Forced to be alone with my thoughts (terrifying!), without the validation of work (I live for the applause, applause, applause), and dating a couple of flakey guys (fair in a global emergency!) combined into an intense period of personal growth. It sucked at the time, but I’m grateful for it now. I am fortunate that my family has been healthy. They’ve all experienced their own challenges, from my brother’s endless Zoom meetings my older sister taking care of 2 teenagers, but we’ve so far been spared the loss of anyone close to us. How have you been spending your time since the theatre industry has been locked up tight as a drum? I’ve oscillated between (short) periods of intense productivity and (longer) periods of ennui. I have also tried to change my relationship to the ‘less productive’ periods and get out of the mindset that says I have to accomplish things to have worth. After those dark first few months of the pandemic, I realized I needed to change my daily routine to try and pre-empt a more serious depression. I, with extreme reluctance, tried to do something physical every day (doing yoga in a basement with low ceilings did not inspire joy) and threw myself headfirst into a few creative projects. I’ve never been able to work slowly and consistently on personal projects. But I do well when I give myself deadlines, writing challenges, and to-do lists. I scheduled a Zoom reading with some actors who have been generously helping me develop my play Cenotaph. This forced me to finish a draft worthy of their talents and watching Yolanda Bonnell, Aldrin Bundoc, Graham Conway, and Michael Chiem read my silly play lit a much-needed fire under my ass to keep writing. After 4 years of procrastination, I finally started a YA novel about an experience I had being gay at a Baptist church camp. And my good friend Fraser Elsdon had the idea to co-write a Christmas rom-com which we outlined together on video calls, providing some much needed social engagement at the same time. Though I famously have no attention span, I decided quarantine might a good time to try and watch more films. I made a list of movies I’d never seen, like The Royal Tenenbaums and 9 to 5 and Breathless, and made watching a movie the ‘thing I was doing’ each evening instead of just listlessly wandering around my apartment wondering why my dog wasn’t laughing at my jokes. Of course, I couldn’t keep up with the freakish expectations I set myself for longer than a few weeks, but it did help kick me out of my funk. Since then, after a summer I spent selling cookies and hanging out at Hanlan’s Point, I’ve been working on a few different things. I started as Assistant General Manager with the Paprika Festival in the fall, the workshop facilitation I do with Canvas Arts Action has shifted online, and I’ve been teaching guitar lessons through Project Humanity’s CAPP program. Commercial and film/tv auditions have picked up a little, and I’ve been working on developing some of my own projects in that medium. But mostly I drink coffee, spend a lot of time on Twitter, procrastinate doing my daily yoga, and hang out with my dog! 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 hesitate to describe this year as any one thing but, sadly, this year has felt like an escape in some ways. The theatre industry is dysfunctional, and there are aspects of our industry I’ve been relieved to take a break from. It’s been nice to get away from the hustle. From being underpaid (it was hard to realize how much more financially stable I felt on CERB than I have on most of my theatre contracts). From being looked down on by a large segment of society. From nepotism and bullying and sexual harassment. Start talking about racism and shadeism and misogyny and fatphobia and transphobia and femmephobia and ableism, and that dysfunction becomes even more clear. Yes, we appear to have begun to take some of these things seriously, but I can’t imagine someone who has experienced these forms of discrimination not experience some reprieve when the industry paused. 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 decided early on that I wouldn’t try to predict the future of the pandemic or when we might be able to perform live theatre again. Even epidemiologists don’t know for sure. I’ve never been particularly good at staying in the moment. I’m always planning ahead, setting goals and then working towards them. Sometimes I even have a hard time doing something as simple as drinking my coffee in the morning. I literally wonder if I’m ‘enjoying it enough.’ And it’s impossible to enjoy something if I’m wondering if I’m enjoying it……. It’s amazing how my brain can invent problems where none exist. As terrible and depressing as the pandemic has been, I’ve taken it as a forceful reminder that I can’t predict the future, and that I can always do a better job of living in the moment, even if the moment is feeling pretty shitty. I’ve tried to practice being present, and ok with not thinking months in advance like I’m used to. It may not be a popular take, and I’m certainly not suggesting that others should take the same approach, but I decided early on to assume that I’ll never act in live theatre again. I knew that having expectations to be back onstage in a month, 3 months, a year, or 3 years—and then experiencing the disappointment of another cancellation—would be hard on me, so I moved forward with no expectation that I’ll get to perform at any point. My mom is a therapist, and one of the things she’s taught me is that imagining the worst possible outcome and accepting that possibility can curb acute anxiety. I often feel more stress imagining the bad things that could happen than I feel when the bad thing actually does happen. Imagining my future without theatre and accepting that possibility has stopped me from the stress that comes from guessing and predicting and worrying. But I know how fortunate I am to have had 10 years of experiences as an actor and feel intense sympathy for artists at the beginning of their careers. Do I actually think theatre won’t come back? No. I know we’ll get back to it at some point. I am just trying hard to stay present and enjoy the time I’m being given to explore other paths my life could take. 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? I think we’ve made ‘entertaining’ a dirty word in the theatre industry. I don’t agree that it’s more important for theatre to ‘transform’ the actor and the audience than it is for theatre to entertain. To be honest, I don’t exactly know what ‘transform’ is supposed to mean. Maybe the fact our society doesn’t value entertainment as something worthy of investment and respect has made us shy away from the idea of entertainment being enough. But it is enough that theatre is entertaining. COVID has made us realize how important entertainment is. People are getting through this time by watching TV and films and stand-up comedy and Zoom panels and listening to podcasts and reading books and laughing at tweets and Tik Toks. Many of my favourite TV shows, like Broad City and Key and Peele and Arrested Development and RuPaul’s Drag Race, aren’t necessarily ‘transformative.’ But that doesn’t diminish their value. They are—to me—just as essential as shows that aim to be profound. Similarly, many of my favourite theatre experiences, like School Girls: The African Mean Girls Play, Urinetown, and Mr. Burns: A Post-Electric Play, have been entertaining above all else. They’ve also been indelible, but they wouldn’t have been so if they weren’t first and foremost entertainting. And I don’t think COVID has changed my understanding of theatre or where it is headed. I think the powers-that-be have always known theatre should be more inclusive. It just hasn’t been in their own best interest to make those changes. Theatre has always needed to appeal to a younger audience. Part of that is making sure theatre is entertaining and another part of it is giving opportunities to new and younger voices without waiting for them to be ‘established’ or a ‘safe bet.’ COVID didn’t teach us either of these things, it just gave us the space and time to think more about them. 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 actually picked up a copy of Zoe’s autobiography during quarantine. I’ve looked up to her since I was a teenager. Though I’ve never seen her work, I was obsessed with the history of the Stratford Festival as a kid. The Michael Langham-directed Antony and Cleopatra with Caldwell and Christopher Plummer was, by all accounts, one of the biggest touchstones of Stratford’s ‘Golden Age,’ alongside Langham’s Love’s Labour’s Lost, the Robin Phillips Measure for Measure with Martha Henry and Brian Bedford, and the John Hirsch Three Sisters with Henry, Maggie Smith, and Marti Maraden. I ate up every story I could find about these productions and dreamed of working there. I’m not sure that I agree with Zoe. I don’t know that danger is what we should be aiming for. The best work requires risk, absolutely. Making the choice that isn’t obvious, that will surprise the audience, that might not work. But danger makes me think of fear. I’ve done some of my worst work as an actor when I’ve been afraid. A lot of this was in theatre school, taught by people who had worked with these directors from Stratford’s ‘Golden Age.’ And instead of challenging me to produce work filled with boldness and risk, their techniques scared and humiliated me into creating work that was stifled and small and terrified. Because the shadow side of those Stratford tales I didn’t read about included bullying, abuse, fear, and manipulation. I know this because actors have told me what it was really like, and the danger that accompanied the idea of speaking up. And yes, actors like Zoe were fortunate to thrive in those environments and produce iconic portrayals of Shakespeare’s great characters. But I know what other actors and stage managers endured at the same time. And I think Zoe would have been brilliant as Cleopatra without feeling danger. I’ve been lucky not to feel real danger during COVID. However, the perspectives from artists who have bravely shared when they’ve felt in danger at work (like the #InTheDressingRoom hashtag and the Black Like Me: Behind the Stratford Festival Curtain discussion) have shifted and augmented how I will approach the work when we are able to return to it. 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? I can’t conceptualize a more sensitive way I’ll approach theatre as a result of the COVID pandemic, though I do think I will bring a new gratitude to the work when I’m able to return to it. I’ve learned a lot about society and the world during this time, but COVID didn’t mark the start of the learning. Some of the issues that we’ve seen come into the limelight since the pandemic began—like racial injustice, police brutality, inequity in the healthcare system, anti-Indigenous violence, and the ultrawealthy profiting while the most marginalized struggle—have existed for centuries. It’s great to see people engaging with these issues, and there is always more for me to learn, but I know it’s been exhausting for some watch people ‘discover’ their existence during this time. By no means am I trying to brag about my own ‘wokeness’, I just think these things have been visible for a long time, and it’s been weird to witness a sudden interest from the majority of people around me in something I’ve seen marginalized artists speaking loudly about and trying to bring attention to for a very long time. 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? I’ve become curious about a lot of things in the past 10 months. COVID has granted me more time to watch film + tv, I resubscribed to the Toronto Star and have the time to read the Saturday and Sunday paper throughout the week, and I inhale hours and hours of podcasts while I walk my very active dog. I started dating someone from Azerbaijan in the Fall, and through discussions with him and some articles and podcasts I became curious about the history of both Azerbaijan and Armenia, as well at the history of the region, from the Ottoman Empire to the Soviet Union. Being able to admit that I had hardly heard of Azerbaijan before I met my boyfriend, it’s been a good opportunity to become more aware of both the history and current affairs of the Caucasus. Probably my favourite tv series I’ve watched since this all started has been Veneno, about the life of Cristina Rodrigues Ortiz, an iconic trans woman who rose to prominence in Spain in the mid-90s. I’ve become incredibly curious about her life and the lives of other women in her orbit since watching the show, and am also fascinated and inspired by how the series was made, with a commitment to cast trans actors in trans roles—including the actors who did the English dub. One of my favourite books I’ve read in quarantine was The Nickel Boys by Colson Whitehead, which was awarded the Pulitzer back in May. Because it’s based on a real school in Florida, it sparked my curiosity and led me to do research on the real-life situations the book was based on. There are some horrific parallels between this school (the Dozier School for Boys) and the residential school system in Canada, which I’d read about in books like Seven Fallen Feathers and Indian Horse. These books, along with a long article about youth detention centres in the Star, led me to research the Sprucedale Youth Centre in my hometown—where my friend’s father worked and where we even held our elementary school track meets every year. But the biggest area I’ve been curious about, and the direction COVID has specifically encouraged me to move in, is towards film + tv. I have great admiration for the artists who are exploring what live theatre looks like in a pandemic, but I am personally using this time to learn more about screenwriting and how to produce film. I’ve been chatting with some incredible young filmmakers, have a few projects in development, and am learning as much as I can about the medium in the hopes that I can find a way to bring the skills I’ve acquired as a producer and theatre artists to the world of film + tv. To connect with Nathan, Twitter: @nnncarroll / Instagram: @wademuir Previous Next

Back 'Topdog/Underdog' by Suzan Lori-Parks Now onstage at Toronto's Berkeley Street Theatre Dahlia Katz Joe Szekeres This ‘Topdog/Underdog’ tells the story of a broken family relationship with sincerity and ‘in-your-face’ veracity. It’s brash, it’s harsh, and it’s truthful. Title’s meaning – Topdog is the most powerful individual in the relationship who can sometimes become frustrated because he must always remain on top. The underdog is the one who continues to resist the top dog at all costs. American playwright Suzan-Lori Parks sets this ‘Topdog/Underdog’ in the winter. Lincoln (Sébastien Heins) and his younger brother, Booth (Mazin Elsadig), live together in the latter’s ramshackle apartment. Lincoln has been thrown out of his own apartment by his wife, Cookie. This living arrangement with Booth is temporary. Lincoln works at the local arcade as a white-faced Abraham Lincoln. Humiliating work: however, it’s the only source of income the two have at the present time. Further problems abound at Lincoln’s work when he finds out he will be laid off and replaced by a wax model. When we first meet Booth at the top of the show, he is practicing Three Card Monte and hoping to become a card shark on the street, hustling as many people as possible. He’s not very good at it but excels at shoplifting. Lincoln was a card hustler many years ago but swore it off after one of his crew was shot dead over it. Lincoln thought he would be next. Booth admired how his brother could bring in the money playing cards. The brothers have experienced troubled lives since they were teenagers, but there is always the sense that Lincoln and Booth care deeply about each other. Their parents abandoned them then, giving them each $500 for their inheritance. Each parent then went off with a new lover. Lincoln and Booth have had to learn to cope with racism, poverty, work, and women. They’ve also had to deal with the understanding of their names to each other. (John Wilkes Booth shot President Abraham Lincoln in a theatre box). Booth is infatuated with a woman named Grace and does his best to impress her by showering her with gifts that have been shoplifted. Lincoln’s relationship with Cookie has been tenuous. He suffers from depression, but Grace mistakes it as he is losing interest in her, which is why she kicks him out. The story's events spiral downward as these two grown men continue to play ‘Topdog and Underdog’ with each other. Suzan-Lori Parks’ comment on family identity and relationships is brash, bold, and harsh. It’s also blisteringly truthful in her play. I sat in the immersive audience seating area (stage right) designed for this production. According to Canadian Stage’s website, this extended Orchestra seating allows the audience to experience the play as it was meant to be seen. It's harsh and gritty sitting this close to the action. And it works. Rachel Forbes’ set design resembles a wrestling ring with ropes all around. Periodically, the sound of the bell signifies the end of a wrestling round and an issue between the brothers. Booth’s squalid apartment appears unfit for anyone to live in, but it’s the best Lincoln and Booth can do for now. (An interesting note I learned when I got home and did quick online research is that President Abraham Lincoln excelled at wrestling.) Jareth Li’s solid lighting design eerily captures the dark shadows that light a wrestling ring before the participants enter. Additionally, Li’s shadowy lighting design finely underscores the growing intensity of anger between the brothers. Tawiah M’Carthy directs with a scalding intensity and truthful boldness. At times, it’s uncomfortable to watch the sometimes-fractured relationship between the brothers boil far out of control. Their language is salty, colourful, and vivid. That’s the truthfulness of the moment. Brothers can sometimes be viciously nasty towards each other, and their vernacular will reflect in the heat of the moment. The electrifying synchronicity between Mazin Elsadig and Sébastien Heins makes the two-and-a-half-hour production fascinating and thrilling to watch and hear. Both are fine performers who are well-trained in their craft. M’Carthy has blocked the two men to create exciting stage pictures of who controls the power at any moment. Elsadig and Heins listen intently and respond naturally to each other. They are like wrestlers who wait and watch to see what their opponent will do before responding. One minute, there is the joking, good-natured cussing between each other. Often within seconds, that playful ribbing and cussing turn upside down and the brothers at times appear to come to fisticuffs since their lives have always been “dominated by competition, dominance and violence,” as Production Dramaturge Jordan Laffrenier and CanStage Associate Artistic Director had written in the programme. Younger brother Booth sometimes idolizes his older brother, especially when he wants Lincoln to show how to manipulate the cards during Three Card Monte. Elsadig seamlessly taps into that admiration with the most remarkable ease within seconds. Just as quickly, Elsadig can shut off that emotional intensity of pride to one where his anger may get the better. Booth waits long for Grace to show up at his apartment to have dinner with him at one moment in the second act. When she doesn’t show up, the fury in Elsadig’s eyes and his physical stance shows he is ready to pop. Sébastien Heins’ lanky stature adds an air of confidence. His Lincoln is self-assured and somewhat cocky since he knows those trigger issues that will set off his younger brother. When Heins first appeared as the white-faced President Lincoln, I felt an uneasiness that didn’t dissipate throughout the production. The ultimate showdown between Elsadig and Heins at the end of the play becomes engrossing. I observed the two men's every move and listened carefully to every word uttered to see where this confrontation would lead. It becomes a fascinating and exciting look at two grown men who have often been down this road before. Where does it go this time? That’s the reason to see the show. Final Comments: Good theatre abounds in the city. This ‘Topdog/Underdog’ is that good theatre we all need. Running time: approximately two hours and 30 minutes with one intermission. ‘Topdog/Underdog’ runs until October 15 at Canadian Stage’s Berkeley Street Theatre, 26 Berkeley Street. For tickets, call the Box Office at (416) 368-3110 or visit canadianstage.com. CANADIAN STAGE presents ‘Topdog/Underdog’ by Suzan-Lori Parks Directed by Tawiah M’Carthy Set Designer: Rachel Forbes Costume Designer: Joyce Padua Lighting Designer: Jareth Li Sound Designer: Stephen Surlin Stage Manager: Laura Baxter Performers: Mazin Elsadig and Sébastien Heins Previous Next

Back Harry Potter and the Cursed Child Presented at Toronto's Ed Mirvish Theatre Evan Zimmerman Joe Szekeres (Note: This review is based on one of the last preview performances. With the publication of this article online, ‘Harry Potter and the Cursed Child’ will have officially opened.) Visually resplendent with superlatively exquisite technical wizardry in ‘Cursed Child’, but is there anything else? Yes, this rhetorical question is to hook you into reading, and I’ll answer it shortly. I’ve only read the first two of the Potter series and have seen the first three film adaptations so I’m coming at this review not as an aficionado, but as a theatregoer. I was still able to follow the story closely for the most part. Additionally, there are excellent refresher notes in the programme so take advantage to read as much as you can before the performance begins. It also helps my invited guest and friend, Darlene, is a ‘Potter head’. There are moments where ‘Cursed Child’ becomes jaw-droppingly engrossing for formidable technical special effects and Jamie Harrison’s mind-blowing wizardry and magical illusions. Three examples come to my mind. One is the entrance of the Dementors at the end of the first act, especially with one flying and gliding over the orchestra and stationed close to the balcony. Enchantingly and horrifically mesmerizing. Another hypnotic moment occurs visually when time travels backwards. You must see it for yourselves to experience it. The third is the entrance of some characters through the fireplace floo. Wow! However, I do want to point out a few things that drew my attention for concern. ‘Cursed Child’ becomes very dark as the story unfolds and I wondered if it is appropriate for young children to see. Advertising might say the show is suitable for 10+, but I strongly advise it should be 12+. Parents, if you have already purchased tickets for young children, prepare them well, please, before arrival at the theatre. My friend, Darlene, said there was a young girl in the women’s washroom at intermission crying her eyes out and telling her mother she wanted to go home because she was so frightened. The mother was trying to calm her daughter down by saying she would be fine and that nothing would happen to her. As Darlene and I walked up the aisle at the end, we both looked around and saw many young children had fallen asleep in their chairs possibly (probably?) because of the play’s heightened emotions. Big bucks spent here, folks, so be aware and prepare if you are taking the kiddos. Visually the production remains incredibly stunning throughout. Renovations were completed in the Ed Mirvish Theatre to accommodate the show’s staging requirements. Upon entering the auditorium for the preshow, we are at the train station and hear the customary usual sounds thanks to Gareth Fry’s designs. Christine Jones’s set design is magnificent to take in. Moving back from the proscenium arch, the house is covered in the brick found in the train stations of the United Kingdom. Neil Austin’s lighting design eerily illuminates moon ray beams ghostly reflected off the floor. I loved the flourishing and hearing the ‘whooosh’ sound of the black cloaks of the ensemble as they changed the scene settings. Katrina Lindsay remarkably captured an effusive array of colours and textures in each of the splendid costume designs. The story begins where Harry (Trevor White) and his wife Ginny (Trish Lindstrom), Ron Weasley (Gregory Prest) and his wife Hermione (Sarah Afful) are seeing their children Albus Potter (Luke Kimball) and Rose Granger-Weasley (Hailey Lewis) off at London's King Cross Station Platform 9 ¾ to Hogwarts. It is at school where the young Albus meets the young Scorpius Malfoy (Thomas Mitchell Barnet), son of Draco Malfoy (Brad Hodder) who was Harry’s arch-rival years ago at Hogwarts. Circumstances quickly erupt and unfold which leads the young Scorpius and Albus off into a nether world of darkness, mayhem and mischief that threatens to destroy them and their families. Just like the principal players, the supporting characters in the ensemble are also many of Canada’s finest stage actors who have appeared across Canada from Canadian Stage, Soulpepper, The Stratford Festival and The Shaw Festival to name just a few places. It was tremendously exciting to go through this list. When I read the Covers who substitute for the listed performers, again the names there are top-notch so the production is most assuredly in capable hands going forward. I’m not going to be able to mention each of them for the sake of space. The show most definitely belongs to Thomas Mitchell Barnet and Luke Kimball who deliver ardent performances in their character arc of development as Scorpius and Albus. Exciting to see youthful, emerging talent given their chance in this show that I’m almost certain will change the course of their professional careers. Several supporting moments drew my attention. Steven Sutcliffe brings a touch of decency and humanity as Severus Snape in his Act Two encounter with Albus. Brad Hodder’s death-like stare as Draco Malfoy is memorable. Trish Lindstrom’s Ginny becomes that voice of calm and reason often in the face of confusion and flusters. Fiona Reid is a stately and elegant Professor McGonagall who means what she says with her students (and Ms. Reid looks as if she is having a great deal of fun with some of the wand effects she enacts). Since I’ve neither read the completed series nor watched all the films, Trevor White’s Harry Potter has come full circle for me. I only remember seeing the young lad on film and reading about him breaking a million school rules. White’s convincing performance certifies that eventually troubled young lads must begin to take responsibility as an adult and as a parent. Director John Tiffany and Associate Director Pip Minnithorpe have magically and memorably created an enticingly surreal world of loss and trauma which threatens many lives in the story. However, the ultimate message behind ‘Cursed Child’? No matter the hardships and deep troubles that will occur in life, nothing will destroy the unconditional strength and bond of familial love. Now to answer the question posed earlier. Along with the beguiling look and sound of ‘Cursed Child’, is there a good story told underneath all this veneer? Let’s not forget that is the prime reason why we attend the theatre – to become wrapped up in the story told by the artists. Yes, Potter lovers will most certainly adore the story with its flash and dazzle. Theatre lovers will ask (demand?) a bit more which is what I’m doing regarding some quibbles that hopefully have been addressed. For one, there appears to be a great deal of shouting, yelling, and screaming throughout Acts One and Two which started to hurt my ears since the actors are wearing head mics. Sound design is magnified for several of the special effects but why have actors try to do the same thing with their voices? Was something amiss with Shawn Wright’s headpiece as Lord Voldemort? From my seat, it looked as if it wasn’t fitting his head properly and appeared just slightly askew. A sense of dreaded fear had to be felt at Voldemort’s entrance, and I wasn’t feeling any of it at that moment. Just minor issues which I’m sure have been addressed. Final Comments: Before I retired from my teaching career, I can recall some Ontario school boards wanted the Potter series removed from the shelves for concern about the use of ‘black magic’. After seeing ‘Cursed Child’, I can honestly say there is no cause for concern regarding this issue. The story deals with troubled father and son relationships and their eventual repair through familial and unconditional love. That is the important message audiences leave with after seeing ‘Cursed Child’. The feats of wizardry and spectacle are a bonus. Running time: approximately 3 hours and 30 minutes with one intermission. As of the writing of this article, As of the writing of this article, the show has an open-ended run. Mask-wearing remains in effect at the theatre. To purchase tickets, visit www.mirvish.com or call 1-800-461-3333. HARRY POTTER AND THE CURSED CHILD Based on an Original New Story by J.K. Rowling, Jack Thorne & John Tiffany. A New Play by Jack Thorn Director: John Thorn. Associate Director: Pip Minnithorpe. Movement Director: Steven Hoggett. Set Designer: Christine Jones. Costume Designer: Katrina Lindsay. Lighting Designer: Neil Austin. Sound Designer: Gareth Fry. Illusions & Magic: Jamie Harrison. Music Supervisor & Arranger: Martin Lowe. Hair, Wigs & Make-Up: Carole Hancock. The Company: Sarah Afful, Kaleb Alexander, Thomas Mitchell Barnet, Michael Chiem, Mark Crawford, Raquel Duffy, Sara Farb, Bryce Fletch, Brad Hodder, Luke Kimball, Hailey Lewis, Trish Lindstrom, Lucas Meeuse, Kyle Orzech, Gregory Prest, Fiona Reid, Katie Ryerson, Yemie Sonuga, Steven Sutcliffe, Brendan Wall, Trevor White, David D’Lancy Wilson, Shawn Wright. Previous Next

Back Paul Constable and Steve Ross “Something as light as a panto takes away the darkness of this time” – Paul Constable Selfie provided by Messrs. Constable and Ross Joe Szekeres These two personable guys kept me smiling during the Zoom call. I had the opportunity to profile Steve Ross at the height of the pandemic almost three years ago. A National Theatre School graduate, I’ve seen Steve’s work on the Stratford Festival stage. He’s been a member of the company for fifteen-plus years now. Go here for Steve’s first profile: https://www.onstageblog.com/profiles/2021/2/3/theatre-conversation-in-a-covid-world-with-steve-ross Paul Constable appeared as Gary in the Canadian Tire commercials for ten years. He attended the University of Windsor and attained a Bachelor of Fine Arts in Acting from the School of Dramatic Art. His comedic training came from Second City classes, just doing improv shows in Toronto. With a smile, he stated he’s done other things, and his work as Gary was only one job. What draws these two affable guys together? They’ve recently opened in Port Hope’s Capitol Theatre’s annual panto during the Christmas/holiday season. This year’s production is ‘Jack: A Beanstalk Panto’ written and directed by Rebecca Northan. There’s singing and dancing. The story is a very loose presentation of the fairy tale with loose meaning many liberties can and will be taken. The Capitol’s panto has two versions: the Family and the Naughty. Naturally, I chose the latter. Audiences can decide which one they would like to attend. I will attend the show this week. Look for my review to follow. From seeing Paul’s limited work in commercials, he had a wry sense of humour as Gary. I’ve seen more of Steve’s comedic work at Stratford – Amos Hart in their production of ‘Chicago,’ Mr. Mushnik in ‘Little Shop of Horrors’ and as the Narrator in ‘The Rocky Horror Picture Show.’ Who can forget those fishnet stockings, Steve? What perfect timing for writer/director Northan to put these two together in a panto. This is Constable’s first time performing on the Capitol stage. Ross did a reading of Yasmina Reza’s ‘Art’ years ago but never an entire show. Rehearsals went well. According to both, everyone was in a really good space before opening. Paul said it’s amazing what can be accomplished in two weeks and comically mentioned how the first day lifting a rock in front of him might not have been possible. Two weeks later, the rock is over his head, and he’s doing okay. He added further: “We’ve run the show many times. Now we got to tech week, and everything became stop and start, that’s wrong, take two steps, and now take three steps back. It didn't push us back because we were in such a great place for tech week. There’s always the excitement of the preview crowds coming to the show, hearing the laughs, and figuring out where the pacing is and timing issues, it put us in a really good place for opening.” Compliments galore from both Paul and Steve about their cast members. Steve called Rebecca a great ship captain; he took this gig because he’s been a fan of hers. Every day, she knew what she wanted to get done, and it was completed. For him, an exciting part of working with Northan was noticing she was in the cleaning process of the show on the second day. Cleaning is something usually not done until a tad closer to show dates. Steve also commented on how quickly the rehearsal process went for the show. It’s a three-month process at Stratford, but there’s been a brain shift in thinking about how to tackle the panto. It was an intensive two-week process, but it went well for him. The talent of the cast still amazes Paul. He jokingly said he is becoming a two-and-a-quarter threat. Steve said that Paul can get the t-shirt because it’s true. Both agreed Rebecca wanted clean comedy. That’s what she’s getting, and that’s what audiences will be getting. Everyone is having fun; it’s a good time, which has made this show a good opportunity for everyone involved. The two coyly said chickens weighed into the show and would leave it there. If you’re a chicken fan, you will like the show. Was there any distinction about the chickens between the Family and the Naughty version? Ross said the show is universal chicken and will be played as such. The two versions are fun, but Constable prefers the Naughty. Steve has never been involved in a show with two versions, so he doesn’t have a preference. For him, it’s virtually the same show with the dial turned up for the Naughty. Along with Rebecca, the guys clarified an essential item for the audiences on how the actors will approach the show's subject material. The Naughty version will not push into a place of blue and dirty for the sake of being blue and dirty. Paul is thankful the naughty version didn’t go there because his parents, wife, son, and friends are coming. He didn’t want them to feel embarrassed, and he didn’t want to cringe at any blue material. Steve also felt the same way as Paul. Instead of being blue: “It’s fun. It’s smart. Rebecca knows a line to walk. You’re laughing because it’s a joke, not harmful or hurtful. Sometimes stuff happens in life, and it’s silly. It’s the kind of show you’ll talk about with your friends and say: “Maybe we shouldn’t say this.” Sounds like double entendres and second glances are on the menu for the Naughty version. Nothing’s hurtful, except ‘anti-chicken people’ might consider it bothersome. I’m sensing the show might just make a few comments on how our woke world has become extremely sensitive to the point where no one feels comfortable laughing anymore. Oh, by the way, now I’m curious how these barnyard animals will figure into the show. The two are excited to gauge the audience's responses from both versions. There’s improvisation involved from everyone. Sometimes, a joking improv on a Tuesday audience might kill, and the actor might consider bringing it back on Wednesday. However, that audience might not respond in the same way. For Paul, that’s the beauty of improv. Are there messages in the show that the cast hopes audiences will take away with them when they exit the theatre? When Rob Kempson (Artistic Director of the Capitol) and Rebecca first approached Steve with the offer, the term ‘forward thinking panto’ was coined. He’d never heard of it. Body shaming gets addressed, and fluidity of sexuality gets addressed (not directly). These are only two messages. None of the messages is ever hammered over the audience’s heads. Doors are open; if people want to see that stuff, it’s there. Steve also shared Rebecca had seen pantos in the UK and even in the GTA, where the dame, always in drag, also gets booed. Rebecca is not interested in someone getting booed. The panto is crafted in such a way that no one will feel the need to boo. Steve admires Kempson and Northan for trying to do something different within the genre. Paul concurred and added that the show will have its own message subconsciously. There are mixed characters and situations, but no one will ever feel as if they are being preached to or told how to feel: “At the end, you’ll probably be exhausted from laughter. Something as light as a panto takes away the darkness of this time, and you’ll forget about whatever you were thinking about when you came to the theatre.” As we neared the end of our conversation, it turned to some changes in the industry that hit the live artists hard. Steve referred to the Writer’s Strike. Since returning to work, he has noticed gratitude at Stratford. He set himself that goal of gratitude for the two years he sat inside his house, not working. If he is lucky enough to be back, he will not complain about anything, whether it’s a 12-hour day or why something might be missing. Steve has also noticed there’s an understanding that artists do work hard and that it’s okay to say one must take care of him/her/themselves for the day. Steve is also quick to add it’s not just him. He sees so much gratitude for the profession because Covid was the reminder it was taken away for two years. Gratitude is easy to forget in the theatre/performing arts industry, and Steve doesn’t want it to happen again. Paul agreed Steve nailed it. The former returned to a different rehearsal process, and Covid permitted people to acknowledge what was bothering them. Paul mentioned a joke I hadn’t heard before – how do you make an actor complain? Give him a job. That joke couldn't be any further from the truth. Since the return, Paul has noticed a check-in at the beginning of each rehearsal. Rebecca and Rob set that tone right from the start. That was something new, but it was welcomed because Paul just saw so much of the attitude of learning lines, showing up, doing what is asked of you, saying nothing, and going home before Covid changed the world we know. Once the panto concludes its run at the Capitol, what’s next for Paul and Steve? A piece of advice was shared I had never heard either – as actors, you just get used to not knowing, and somehow you will land on the ground. Paul was Gary for ten years with Canadian Tire. The actors are in a strange place, and there’s some hope union actors can return to work in commercials. If that happens, Paul hopes to be a part of it. Paul is pleased he took the panto job because it allowed him to step back into theatre. He hopes artistic directors are listening and looking for his talents (hint, hint, call his agent). Steve will put his writing hat back on before returning to Stratford for the upcoming 2024 season. He has two drafts he’s working on. He’s excited to sit at his laptop and write for the month. There will be some free days during the panto run, so he’ll continue writing. (Rob Kempson, are you listening? Steve will send you the drafts). ‘Jack: A Beanstalk Panto’ runs to December 23 at the Port Hope Capitol Theatre, 20 Queen Street, Port Hope. For tickets, call the Box Office (905-885-1071) or visit capitoltheatre.com. Previous Next

Back Frances Loiselle and Michael Williamson Emerging Artists Selfie Joe Szekeres As this Pandemic Profile series winds down, I thought it was important to check in with emerging theatre artists at the beginning of their careers and to see how they’ve been faring during these last sixteen months. Many of the seasoned artists to whom I’ve spoken are concerned and hopeful that the emerging artists have not been deterred or discouraged. Frances Loiselle and Michael Williamson have not been swayed at all as you will see from their responses below. If anything, both have faced the results of the pandemic head on with the knowledge that their careers may appear different looking ahead, but they will move forward and continue in a career which they still admire and appreciate. Loiselle and Williamson are both graduates of Toronto’s George Brown Theatre School. They have appeared in a variety of summer productions with Port Perry Ontario’s ‘Theatre on the Ridge’ with their most recent as Tinkerbell and Peter Pan in 2018. This summer, they will perform in a touring production of C. S. Lewis’s ‘The Lion, The Witch and the Wardrobe’ around the Durham and Scugog Regions on your driveway, your front lawn or even on your street. I’ll include the link at the end of the profile. The three of us conducted our conversation via email: 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. FL: The pandemic was a good shattering of the illusion that anything about your life is remotely under your control. You can’t control anything; you can’t plan for anything. Things just happen to you, you accept, you change, and you continue. Covid, or more precisely folks responding to it, hit home with the reminder that we do not all experience this life, and this world, in the same way. There are some deep, deep injustices and inequalities constructed into the fabric of our society, by white supremacy, capitalism, and colonialism, many of which by virtue of my privilege I could comfortably remain ignorant to. Many of them benefit me, as a white woman, and endanger and oppress others. They also steal a better, more just world away from all of us. The pandemic, as well as the enforced isolation and loss of employment, and most importantly the labour undertaken by many BIPOC activists, educators, authors, journalists, and peers in writing pieces, creating art and sharing knowledge, forced I think many of us to stop looking away and take some responsibility. The pandemic shook up the foundations of what I took as regular, every day, unchangeable life, and it made more possible the questioning of this state, these institutions, myself and my attitudes. I’m still very much learning. MW: I suppose for myself, the pandemic has shed a lot of light on my mental health. I think I have lived with a lot of things that I had been ignoring for most of my life, but the pandemic has aggravated those things enough that I think I am now starting to acknowledge them and work through them. So, the pandemic has definitely made parts of my life a lot more difficult but it is also giving me opportunities to face some of those things that I might have ignored for years to come. In regard to “the world I know” I think a lot of people are starting to become more aware of a world bigger than just themselves or the people they are in contact with. Through that, I think people are taking this opportunity to become much more active and really define themselves in what they stand for and what they can actually be doing to make the change they want to see in the world. 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? FL: I feel a little like a fraud, answering a question as a professional artist of the live theatre industry, because most of my time, and especially during this pandemic, I haven’t really gotten to be that. Just starting out, work as a professional artist can be few and far between. I think it has been an interesting time of all of us collectively getting to question, what is live theatre? My romantic notion of it is up on a stage, or at least in some in-person space, with an audience present. But I’ve seen some fantastic shows (and been a part of one!) that were definitely not film, not television, that were live, not exactly theatre, but this whole new entity. Initially, I wanted to entirely dismiss “zoom” theatre. I found it depressing, a pale imitation of reality, it didn’t offer to me anything I loved from in-person theatre. But I’ve changed my attitude on that because some great artists have made some cool stuff. MW: I think reinforced is a better word for me. I feel like through this shutdown of most live theatre it has only solidified my stance on the essentialness that is live theatre for society as a whole. Live theatre is a wonderful place to share and experience; be inside a room with many others as you all witness something going on in front of you. Whether that experience is funny, frightening, or riveting, you all are allowed to go through something in the same room while still being kept safe. As a professional artist, what are you missing the most about the live theatre industry? FL: I miss being live, in theatres. Being around other bodies. Strangers gathered to witness a performance. Seeing real human people in front of me speaking, feeling, listening, sweating, and breathing, and breathing with them. Feeling the collective audience response around me, and not merely my own. The sense of, for a brief span of time, forming a small community, together. Being alone, in my bedroom, watching a screen, sometimes just feels lonely. MW: Working in a room with your whole team. There is no substitute. And while zoom and other mediums people have been using to work through are nice and provide a variety of comforts for everyone involved, nothing compares to the joy, unity, and cohesive strength that can come from working with your team face to face. 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? FL: The little in-between moments. The camaraderie you build with your collaborators when you sit down to eat lunch together, or warming up before rehearsal, or getting dressed before a show. The new relationships you get to build, the cool and interesting new people you get to meet. When you have to sit alone on your living room to warm up before your zoom show or wear a mask and move six feet apart as soon as you break for lunch, it’s difficult to make and enjoy those connections. MW: Probably the rehearsal room/stage. It provides such a wonderful freedom and atmosphere for everyone to create; to leave behind whatever else is going on that day, whereas when you are rehearsing at home everything serves as a constant reminder about your “non acting life”. Describe one element you hope has changed concerning the live theatre industry. FL: I’m hoping that there is a move away from the “you have to work yourself to the bone” attitude towards making theatre. To be honest, I was mostly trained and brought up in that attitude, and I was really devoted to it for a long time. You are taught that you have to work incredibly long hours, shirk all other responsibilities in your life, and experience incredible mental, physical, emotional strain to create good theatre. It was both an expectation and a behaviour that was rewarded. And I took pride in being tough enough to survive it, and it meant I had a very toxic attitude towards expecting others to do the same. But I’m coming across more conversations, now, and people speaking up, especially many artists who are often marginalized by these attitudes- Black and Indigenous artists, artists with disabilities, artists with young children- about how it doesn’t have to be this way. I’m trying to reconsider that assumption. First, it’s an extreme privilege to be remotely able to make theatre in that way. It assumes you don’t have loved ones to take care of, mental or physical health issues or differences of ability to accommodate, that you aren’t experiencing an additional, invisible burden of dealing with white supremacy inside and outside the rehearsal hall. “Working yourself to the bone” for theatre, for any art, really is just not an option for the majority of people, students, artists, arts workers. And it shuts them out. Second, it’s really not an option for anyone. It just burns you out and makes you want to quit. It makes you need to take time away to recover, if you’re lucky enough to be able to. Why am I having to recover from making art? I think the pandemic has been a part of it, of mine and other folk’s reconsideration around their devotion to “working to the bone.” There’s more conversations, now, about how people are doing, how long they can handle rehearsing on zoom. Maybe many institutions are doing it superficially? I hope not. It feels like a shift. I certainly hadn’t stopped to consider it until the pandemic. But I obviously want to acknowledge I didn’t suddenly come to realize this; a lot of artists have been speaking about this for a long time. I actually recently read Yolanda Bonnell speaking on this subject in another ‘Self-Isolated Artist’ interview for OnStage Blog. MW: Hopefully, demand for it! Explain what specifically you believe you must still accomplish within the industry. FL: Um… everything? Quite a bit? I don’t feel like I’ve accomplished very much, yet. I’m not sure yet what I want to accomplish, what path I might take. I think my next step, for me, is finding more of a voice as an artist. My training and experience have been more as a facilitator of others’ voices. That is your work, as an actor. You are a collaborator, you contribute, and you help shape the piece, but (for me anyway) I don’t really feel I am a creator. I assist in the creation process. But I would like to also be an artist, with a voice, with something to share, and I just don’t really know what it is yet. I struggle with feeling I have anything of importance to share, really. I feel comfortable as an interpreter, and I want to develop my own voice. To do some of my own work. MW: Well there’s a lot of things here. I’m still very much starting out, so I have a pretty hefty bucket list but if I had to pick something I would say getting the opportunity to act alongside some of the actors I grew up loving in some mainstage show. 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. FL: We make art in response to life, to our lived experiences, our perceptions of this world. We make art to comment on, explore, reflect, celebrate, criticize, question, transform what we observe. So of course, with COVID having affected so many of us, in such different ways, all around the world, artists will want to respond. I think, or at least I hope, this doesn’t mean a very homogenous, repetitive slew of theatre pieces talking about the exact same experience of the pandemic, from the same perspective, with the same ideas, over and over. The pandemic has been many things. The pandemic has been about isolation and loneliness, about maintaining connection, and accepting solitude. It has been about the staggering inequalities and injustices in our society being laid so bare, becoming such a matter of life and death. It has been about loss. It has been a dystopian sci fi weirdness of masks and social distancing and mass vaccination clinics. We could make a lot of varied, interesting theatre out of all this. Especially if a huge diversity of perspectives and voices are given the money and support to do so, and not just a handful of old white guys who spent the pandemic safe in their living room trying to figure out how to share their screen on Zoom. MW: I don’t think it’s that difficult to piece together really. The Covid Pandemic has universally affected the whole world for over a year. I think whenever something like that happens a ton of art is created around that experience (any large war, the aids crisis to name a few). So much of art is based around sharing an experience with one another and Covid might be one of the biggest shared experiences we have had recently. As an artist, what specifically is it about your work that you want future audiences to remember about you? FL: No idea! I still deeply identify with the label of “emerging artist.” I feel sometimes like I look at fellow “emerging artists,” my peers, and they seem to already be developing a strong vision, a confident voice, good relationships, be blossoming into lovely and interesting butterflies of artists. And I am still contorted in a safe gooey cocoon, existing as a half-formed mush of vague ideas and self-doubt. So my work, my artistic voice, still feels a little unknown. I guess, if it’s about the work I’ve done so far. I’d like to be remembered for my honesty. I’m still working on being honest with myself, with others, in my life. In my work, I always want to be honest. MW: I think it would be an honour to just be remembered outside my own circle of friends and family for my work. I think though for me, it's less about being remembered for my work and more being remembered for being someone people wanted to work with. To learn more about Theatre on the Ridge’s productions this summer and the touring production of ‘The Lion, The Witch and the Wardrobe’, please visit www.theatreontheridge.ca.You can also visit their Facebook Page: Theatre on the Ridge; Twitter: @TheatreOTRidge; Instagram: @theatreontheridgeportperry Previous Next

Back La Bulle/The Bubble Toronto's Corpus Dance Projects Muriel Cavanhac Joe Szekeres La magie de ‘La Bulle’, c’est merveilleuse / The marvellous magic of ‘The Bubble’ (This review is based on the first preview performance of ‘La Bulle’/ ‘The Bubble’.) My word, artist David Danzon offers a remarkably charismatic solo performance of complete and focused concentration. During my undergraduate years at Western, I had minored in French language, culture and literature and had studied some elements of the art of mime. I remembered seeing various interpretive photos in print of Pierrot, the iconic dreamer, dressed in black and white and with the thick white pasted looking facial makeup. I often wondered how an artist might reveal how he/she/they would bring Pierrot to life, and how might I respond in seeing an artist present such a quirky spectral of this sad stock character of a clown especially in the twenty first century world. David Danzon moves beyond just a mere representation. His ethereally fascinating Pierrot remained enchantingly haunting for me during the hour-long production. To watch someone showcase the intricately challenging artistry form of mime with such poetic grace and fixed attention was enthralling. Mr. Danzon is a gifted performer, and the elegant silence in his sleek movements hooked me immediately and I allowed him to take me on a metaphysical journey of lights, colour, and sound. The press release stated ‘La Bulle’ was conceived before Covid-19 and it was “already meant to explore themes of social distancing and solitude before it became a concern for all. This new original work also speaks of an equally contemporary paradox: achieving privacy in an increasingly exposed and monitored world.” I smiled when I read this statement because the production uniquely emphasized for me the social distancing and solitude I’ve felt during this time personally and how to reconnect again in a world that has been so heavily influenced from the results of all this privacy we’ve experienced. Upon entering the courtyard of the Berkeley Castle, a huge balloon like see through bubble appears in which Mr. Danzon, dressed as Pierrot, sits in the middle. There are objects inside the bubble which contain some of the props to be used. Additionally, there are chairs physically distant around the bubble for the audience to sit. We are encouraged if we wish to do so to get up from our seats and move around to watch the action. I remain in my chair as my visual vantage point was perfect for me. Danzon is focused on a game in trying to make a ball move on the top of a large wooden peg. He spends a few minutes moving himself around in his seat to the various sightlines so that each vantage point watches and waits with bated breath (at least I was) to see if he would be successful in lodging the ball on top of the peg. I won’t spoil the surprise and tell you if he is successful or not. And then the pièce de resistance: to follow how Danzon (as Pierrot) utilizes his craft to invite some members of the audience to step forward and become part of his bubble for a few moments. Through their laughter, the young children adored the connection he was making to them and to others. At one point, Mr. Danzon beckons one audience member forward to outstretch her arms and appear as if she is inviting him for a hug on the outside of the bubble. On the inside, Danzon uses a white marker and then traces the outline of the person for a few moments. He then admires the work he’s completed on the inside and then steps toward that outline and stretches out his arms to receive the other person’s hug. Loved this connection Mr. Danzon made with someone. I hesitate to spoil the other charming elements in the performance, so all I’m going to say is I found myself thinking about the movements I make when I swim somewhere. Pay careful attention to the moment where Pierrot swims. So rather fetching. And I didn’t want his Christmas celebration to conclude at all as I was having so much fun watching him and watching the kids in the audience respond so believably to him. Absolutely magical, but underneath all this is a tad bit of ‘tristesse’ since we celebrated Christmas and our summer vacations solo during the pandemic. Danzon at one point wrote on the bubble, ‘C’est un peu triste, non?’ which reflected what we all experienced during the holidays. FINAL COMMENTS: La magie de ‘La Bulle’, c’est merveilleuse pour toute la famille. Allez-y à voir un bon spectacle. Vraiment remarquable! Recherchez vos billets gratuits en ligne maintenant avant qu'ils ne disparaissent. Théâtre français de Toronto et Jami present ‘LA BULLE’ by Corpus A Silent Solo Outdoor Performance Conceived, directed, and designed by David Danzon & Carolin Lindner (CORPUS) Presented by Théâtre français de Toronto and Jamii. Performed by David Danzon Costume Design by Francoise Autran No Spoken Word: From September 2 – 5, 2021 (Thursday to Sunday) at The Berkeley Castle Courtyard, 2 Berkeley Street, Toronto (The Esplanade) Running Time: 60 minutes FREE TICKETS. For reservations, please call 416-534-6604 or visit www.theatrefrancais.com . Previous Next

Back 'Hypothetical Baby' written and performed by Rachel Cairns Runs until December 17 in the Tarragon Theatre Extraspace Credit: Dahlia Katz. Pictured: Rachel Cairns Zoe Marin ‘An intimate and emotional solo show performance’ Hypothetical Baby is as intimate and emotional as it is politically relevant. Whether it’s the specific details about writer-performer Rachel Cairns’ life or her more TEDxTalk-style explanations of broader feminist issues, I can’t imagine anyone leaving this show without feeling a deeper introspection about themselves or an acute awareness about the socio-political state of the world. When the lights went out after Cairns’ last line, it seemed that everyone was so emotional they forgot to clap. For a few seconds, all I heard was a mix of sniffles and the shaking chairs from people suppressing their full–body sobs. It’s not that I thought a story about abortion would be incredibly light-hearted, but I was surprised by the extent to which it impacted me and the people around me. Hypothetical Baby is a solo-show written and performed by Rachel Cairns, a multidisciplinary artist known for her award-winning podcast “Aborsh” about abortion in Canada. Hypothetical Baby begins with Cairns inquiring about how to get an abortion, and the doctor inquiring about her financial and relationship status to figure out why she would even want an abortion. After discovering that Cairns is meant to fly back home to Vancouver the next day, the conclusion is that this is an issue for Cairns and some other clinic in Vancouver. Ultimately, Cairns finds herself getting a “medical abortion” on Christmas Eve in her family home. Although this specific event inspires the rest of Hypothetical Baby, as Cairns explains in the show, life isn’t just an “event”, it’s a “process”. Therefore, for the remainder of the show, Cairns jumps back and forth in time to analyze what led to her ultimately choosing to get an abortion and how it continues to affect her to this day. She also goes through the history of Canadian abortion laws and other systemic issues to analyze how the “choice” she made isn’t fully hers. Cairns first refers to the titular “hypothetical baby” in the days leading up to her abortion when her signs of a healthy pregnancy make her briefly consider what it would hypothetically be like to have this baby. Obviously, most of the concerns are financial. She’s been told many times that there’s never a “perfect time to have a baby", and she asks: Why not? Despite Canada being such a “progressive” country, its capitalist structure creates various access barriers that prevent people from keeping a child even if they wanted to. And so, although Cairns legally can choose to get an abortion, how much of a choice does she really have? And how much less of a choice do other people have? Cairns is self-aware of her specific privileges and disadvantages as a white woman with a non-salaried job living in Ontario. Through a mix of her personal interactions with other women, as well as her mini-lectures, she shows the audience how the intersections of gender, race, citizenship, able-bodiedness, and class play into reproductive rights. With the mix of so many personal anecdotes and lectures, Cairns covers a lot of ground within the 75-minute time frame. There are moments that could have felt random, like a long section about author Sylvia Plath’s life or a presentation on how women are specifically affected by the Covid-19 pandemic. However, everything in the show connects strongly to the question of the hypothetical baby. Every moment is deeply personal to Cairns’ story, but also exposes Canadian society and specific systemic issues that I have not seen explored so directly on stage before. The production elements are very simple, but effective. There is a small platform with a rug, chair, and white backdrop. Along with this set, the lighting, projections, and sound transport the audience to various locations including a walk-in clinic, a house party, a Hudson’s Bay, and the bathroom where she experiences her abortion while her family has Christmas Eve dinner downstairs. Director Lancaster keeps the information-packed story flowing, while also giving the audience the time and space to sit with the heavier emotional moments of the piece. Lancaster makes specific choices about when to pull out all the bells and whistles or when to hold back. At times, Cairns is very active throughout the space, and the sound and projections are as overwhelming as what she is experiencing. Then there are other moments when Cairns is simply sitting in a chair and talking to the audience. Each choice made by both Lancaster as a director and Cairns as an actor does justice to how emotional, provocative, intimate, angry, political, educational, and even funny the text itself is. One of my favorite aspects of Hypothetical Baby is Cairns’ portrayals of conversations between herself and other characters, especially with the characters who are a bit harder to sympathize with like her uncommunicative boyfriend or the failed actor turned anti-abortion public speaker she stalks online. Although Cairns doesn’t justify their behavior, by stepping into their shoes, they reveal larger societal issues to Cairns as well as her own internal conflict about her abortion. The heart of the piece, however, is the relationship between Cairns and her mother who is there for the entire story including her abortion, her existential crises about her career, issues with her relationship, and the final moment of the show that left most of the audience sobbing. Cairns’ mother’s story draws many parallels to her own story, and provides a really personal exploration of the concept of motherhood as a “choice”. In the same way that Cairns’ connects with the many people around her regardless of how different their stories may be, I believe that anybody who watches Hypothetical Baby will find something that resonates with them. THE HOWLAND COMPANY presents ‘Hypothetical Baby’ written and performed by Rachel Cairns Directed by Courtney Ch’ng Lancaster Sound Design by Cosette Pin Production, Lighting & Projection Design by Julia Howman Associate Technical Artist: Emily Jung Previous Next BACK TO TOP

Back Norm Foster The Self Isolated Artist Self portrait Joe Szekeres Thank you to the theatre gods who have looked down upon me with grace and have blessed me with the opportunity to converse either online, via telephone or by email with some of Canada’s finest members of the professional performing arts community. These ‘self-isolated artists’ have been tremendously kind and receptive in speaking about how they are holding up during this Covid crisis while sharing some personal and poignant memories and thoughts. I cannot recall of any theatre company off the top of my head, either amateur or professional, who hasn’t produced at least one play by Norm Foster, another of Canada’s finest playwrights. I remember the first time I saw ‘The Melville Boys’ and was struck by how funny the story was at one point while several minutes later I was wiping a tear from my eye. I’ve always found Norm’s plays, characters, and dialogue true to life, sometimes daring, sometimes witty, sometimes harsh and most often humane. The story of how Norm came to a love of theatre always makes me smile each time I read about it. He went with a friend to an audition of a community theatre production of ‘Harvey’ because Norm wanted to see what this ‘theatre thing’ was all about. He ended up with the role of ‘Elwood P. Dowd’, the central character who has an invisible six-foot rabbit friend. Norm had never seen a play in his life up to this point. He seems like the kind of guy with whom you could sit in a pub for hours, have some beers, and just ask him questions and discuss everything and anything. I certainly hope I get that chance one day. And I just found out today that one of Norm’s hobbies is photography. His headshot is only just one example of his work. We conducted our interview via email right after he had recovered from surgery. Thank you so much, Norm, for your kindness to be interviewed: 1. It has been just over two months right now that we have been under this lockdown. I just found out you got out of the hospital. First off, Norm, a very speedy recovery to you. Before your surgery how have you been doing during this period of isolation and quarantine? How is your immediate family doing? Oddly enough before THIS surgery, I was recovering from another surgery for a ruptured aneurysm that occurred on a flight from Costa Rica to Toronto. So, it has been an eventful couple of months. I have actually been recovering from some surgery for the entire Covid adventure. If there is such a thing as good time for it to happen, this is it. The rest of the family seems to be doing okay. My wife Helena is doing a lot of gardening and online studying. 2. Before I started reviewing for On Stage Blog, I had just missed you by that much (as Maxwell Smart used to say) when you performed at The Capitol Theatre in Port Hope, Ontario several years ago. Were you involved in any projects before the pandemic was declared and everything was shut down? I was set to do a tour of my play ‘Jonas and Barry in the Home’ in several theatres in Southern Ontario starting in June. Plus, I was scheduled to go into rehearsals for two new plays of mine at the Foster Festival in St. Catharines this summer. All of that was wiped out of course when the theatres shut down. 3. What has been the most difficult and/or challenging element of this period of isolation? Not being inspired to write. I’ve talked to other artists about this and many of them feel the same way. You would think that with all of this down time available to us that we would be writing furiously. Not so. Ordinarily I have no problem sitting down first thing in the morning and writing. That is no longer the case, and I’m not sure why. I still have the ideas. I just don’t have the urgency to get them down on paper. 4. Now, along with your recovery from surgery at home, what have you been doing to keep yourself busy during this time of lockdown? I watch tv. I practice my guitar. I face time with my children and grandchildren. I argue with my wife about nothing. I check my pulse. I sit in my beautiful yard like an old man and hope against hope that the NFL season won’t be canceled. 5. Any words of wisdom or sage advice you would give to other performing artists or emerging playwrights 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? I would just tell them to hang in there. This is just a speed bump. Mind you, it’s a pretty big speed bump, but this too shall pass and your dreams can still be achieved, given time. 6. Do you see anything positive stemming from this pandemic? At first, I thought that this would lead people down a less selfish path. The old ‘we’re in this together’ idea, but the more I see what’s going on in the world, the more I realize that I was just being naïve. For the most part, people are looking out for themselves. Positives? Yeah. I haven’t put gas in my car since March 3 and my last credit card statement was $32. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? It will be changed but I’m not sure how exactly. It will take some time for it to return to the way it was, if it does at all. We are all going to be cautious. I don’t think it will be nearly as enjoyable or fulfilling for the artists or the audience for quite some time. I fear it will seem more like work, something which I avoid at all costs. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts about this format presentation? Any advantages to doing this? Disadvantages? Are you participating or will you be participating in this presentation format soon? I think it’s great if the artists want to do that. Personally, I’m not interested in online performances right now, because they haven’t made the technology watchable in my opinion. It is just a stop gap measure for now. A way for artists to stay active, and that’s good. But it doesn’t interest me at this time. 9. Once you’re back on your feet and feeling better, will you do any live performances soon? What is it about the arts you still love given all the change, the confusion and the drama surrounding our world now? Oh yes, I plan to get back out on the road next year or whenever they say we can. I love performing and being a part of getting a play up and running. In fact, that’s why I do what I do. I love telling a good story to an audience. That won’t change. But I will not be writing any plays about COVID-19. People seem to think that we writers are all going to be telling our stories about it. Not me. I’ve got plenty of other stories to tell. With a respectful acknowledgement 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? Funny. b. What is your least favourite word? Laborious c. What turns you on? Quality writing. d. What turns you off? Opinions. e. What sound or noise do you love? Waves coming ashore f. What sound or noise bothers you? Arguing. g. What is your favourite curse word? Fuck h. What profession, other than your own, would you have liked to attempt? Piano player in a smoky bar. i. What profession would you not like to do? Law enforcement j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Nice job.” To learn more about Norm, visit his website www.normfoster.com . Previous Next

Back Michael Man 'My life is pretty exciting right now, and I hope it will continue." Pierre Gautreau Joe Szekeres The theatre company's name - ‘Shakespeare BASH’d’ - made me do the proverbial double take. Does ‘Bash’ mean what I think it means? After last year’s engrossing and pared-down ‘King Lear’ with Scott Wentworth in the title role, why was I thinking what I did? The Bash’d production of ‘Lear’ made for good theatre on a freezing night. This month, it’s ‘The Two Noble Kinsmen,’ a collaboration between Shakespeare and John Fletcher. According to a release I received, ‘Kinsmen’ explores many of the same themes expected from Shakespeare’s plays, including love, friendship, honour, and duty. Those familiar thematic topics are shown to audiences from new and unfamiliar perspectives, challenging expected ideas of gender, sexuality, romance, and ceremony. Although written over four hundred years ago, much of ‘Kinsmen’ feels incredibly modern, exploring many relationships, including same-sex love and attraction, in some of the most overt ways of a play from this period. Recently, I spoke with Michael Man, who plays Arcite, one of the title characters and asked him to tell me a bit about the plot without spoiling any intricate surprises since I’ve never seen the play before. Man was keen that I knew nothing about the show. His wish is for audiences to do the same to come and enjoy. There are two love triangles in ‘Kinsmen.’ In the first, two kinsmen are deep, deep friends who go to war and get jailed. While in jail, they see a woman for whom they fall madly in love. As part of this first triangle, these friends learn how to cope with each other falling in love with and fighting for the same woman. The second triangle involves what occurs in jail. We meet the jailer and his daughter, who falls madly in love with one of the kinsmen. Meanwhile, the jailer’s daughter is also being pursued and chased by another lover. For Michael, the theme and idea of friendship aren’t discussed much, and these are two reasons audiences should see ‘Kinsmen.’ Since our world is still changing due to the pandemic, Michael thinks a lot about friendship attrition and how difficult it is to maintain friends because they’re worth so much. How do we keep friends through difficulties? How does one describe friendship and love, and what happens when they blur, if they blur, or do they blur? ‘Kinsmen’ explores friendship, what it can and cannot be, and how we maintain it. Rehearsals have been going fine so far. Man loves working with these folks. He loves this company because SHAKESPEARE BASH’d is text-centric and actor-focused. Audiences attend to hear the text spoken hopefully well by people who are passionate about what they do. His biography on TAPA lists impressive credits. This summer will mark his fourth season with Shaw Festival. A Queen’s University and George Brown Theatre School graduate, he is an actor, musician, and theatre maker. Man has performed across the country. Having previously served on the Dora Indie Jury 2018/2019 and the Ontario Arts Council Skills and Careers Development Jury in 2015, Michael has experience critically and objectively discussing the merit of the works of his peers. He has fond memories of his undergraduate years at Queen’s along with a great support network from his undergraduate years and his training at George Brown. He met some incredible friends: “My life is pretty exciting right now, and I hope it will continue." Man has also voiced the same frustrations and perhaps concerns about where the performing arts are headed due to so much change in the industry over the last nearly four years. Change will always remain a constant. There’s now an urgency to do what he wants to do. He chooses to stay with what he’s doing now and do it with all his might and heart. As an artist, there’s a certain level of faith and optimism in choosing to do something others might see as an unstable or unreliable career. How important is it to continue honing his skills as an artist: “I feel very lucky that I get to do what I really like, so why wouldn’t I take every opportunity to learn how to do it better?” Outside of getting to see theatre, Man loves the arts and getting out to see what others are doing. It’s exciting to find out how people are communicating, what is interesting, and what is being received well or not received well. If he has the resources and the time, of course, he’ll take the time. But there’s learning to be done in other different ways from the people with whom he’s working, along with any personal reading he may undertake. How important is it for Michael as an artist to hear what audiences, reviewers, critics, and bloggers say about his work? There was a slightly uncomfortable laugh from him as he challenged me to continue asking other artists that same question. Again, we both shared a good laugh over it. Man is in the art of communications. He is trying to communicate to the audience. The best communication is never one way. It’s always a dialogue both ways, so it’s essential to hear and understand what’s being received and what isn’t. But Michael is an artist. He's sensitive, as he believes most artists are, so that side is protected. He knows he must defend that sensitivity even though he may not know how others will process the created work. Artists put themselves out there and wear their hearts on their sleeves. Just as a rave review cannot bring him to the heights and skies, negative or poor feedback must not bring him down to despair. He’s working on how he receives all kinds of feedback. Our discussion then turned to the changes in the industry. Michael is grateful that honest and meaningful conversations are taking place and getting more to the forefront. That said, coming out of these four years, he feels that as much as change is happening, a lot remains the same. The landscape is now very different. Yes, stories are still being told; people attend to hear stories told and want to be seen, heard, validated, and listened to. He appreciates there is an essence of what remains true among all of us. But there is still work to be done, and there is an added sense of urgency to do it. Many places around the world do not allow freedom of expression. This means Michael must continue to work in the arts formed by reason and with a convicted heart. He feels grateful for being able to do his work and knows many artists who have either stepped away from the business or are pausing to take stock of where they are. Change will remain a constant and will always happen. For example, there’s a lot of discussion in film, television, and voice work about the influence of AI (artificial intelligence). This item has been hotly debated and must remain a significant concern for the artist/actor. Technology is a reality, but the actor/artist must learn to react and safeguard themselves. Money and funds are always an issue in the theatre, even now more pronounced. As theatres continue to consider budget, Man hopes financial oversight will not discourage artistic risk across the board. He hopes both can go hand in hand and that artists aren’t fearful this will happen. After ‘The Two Noble Kinsmen’ completes its run, what’s next for Michael? He returns to Shaw this summer and ecstatic that it and Stratford will perform East Asian-centric plays this year. He’s writing for Shaw which has commissioned an adaptation to produce ‘The Orphan of Chao’ based on a 13th-century Chinese drama, ‘The Great Revenge of the Zhao Orphan,’ by Ji Junxiang. Man is grateful for the opportunity to have his words presented in this adaptation. He will also appear in a new adaptation of ‘Sherlock (Holmes and the Mystery of the Human Heart)’ and will act in another adaptation of a 13th-century Chinese drama – ‘Snow in Midsummer.’ As we concluded our conversation, Man spoke of something he holds dear to his heart: “Regardless of who’s performing in a show, what stories are being centred, or where the stories are coming from, I hope audiences come out to see that we are all the same underneath. That’s what’s important.” And what’s next once Shaw concludes its summer/fall season: “Who knows, Joe, who knows? …I try to trust my gut in what I do, so I will continue to seek out exciting and interesting work done by exciting and interesting people.” ‘The Two Noble Kinsmen’ directed by James Wallis, opens on January 25 and runs to February 4, 2024. All performances will occur at The Theatre Centre, 1115 Queen Street West. For tickets: www.shakespearebashd.com . Previous Next

Back Dianne Montgomery Looking Ahead MPMG Arts Joe Szekeres Dianne Montgomery is a Toronto-based tap dancer, choreographer, and composer who will present the world premiere of her commissioned work 'Softly Losing, Softly Gaining' which she has choreographed and composed. Her work will be performed at Meridian Hall, on October 6-8 as part of Fall for Dance North Festival. The show was to have first premiered in 2020 and then in 2021. She considers performing her work on these evenings an honour and joy to be supported amid such powerful offerings. Given so much change over the last two-plus pandemic years, Dianne is appreciative of feeling respected and included by the Fall for Dance North team as she senses they want the best for and from the performers. What struck me the most about our conversation was Dianne’s frankness in sharing her vulnerability as an artist. She feels quite an emotional attachment to the premiere of ‘Softly Losing, Softly Gaining’ as she sensitively compares it to the intimate act of giving birth to her work. Finding that vulnerability requires and encourages her sense of self and soul, particularly in the experiences of the last two years. Montgomery feels a deeply renewed sense of responsibility to bring heightened senses and awareness of her work to audiences, especially to those who may have felt a sense of isolation during this time. When I inquired where Dianne completed her studies in tap dance, I learned something that I hadn’t realized about the art form. It is not just a three-to-six-week lesson twice a week with a recital at the end. Tap isn’t structurally built in a way where there is a particular school where to study tap for three or four years. For Dianne: “Tap takes years and years and years of concentrated study and training, and it never really stops. A tap dancer doesn’t have a start and end date as there is always exploring and finding. Becoming technically proficient is a forever job. The beginning students study intermediate steps; the intermediate students study advanced steps, advanced students work to be professional and professionals study beginning steps. It’s cyclical in nature.” She has performed, taught, and presented her choreography across North America and Europe. She toured the world for two years with Canadian singer-songwriter FEIST as a tap dancer and shadow puppeteer, also performing on Saturday Night Live, The Late Show with David Letterman, and Late Night with Conan O'Brien. As a professional artist, Dianne finds the world of dance intriguing. For her, there’s still so much to explore, learn and find in the expression and the connection to the history of the art. There’s a connection to each other in the world of dance, which is always exciting to discover. There’s a passion for dance, and there’s also the sheer joy of kinetic movement. Words sometimes cannot do justice to the art of dance like sauteed mushrooms and butter. (Writer’s note: I like that analogy) One of the elements Dianne most appreciates is that of community with artists connecting with each other. There’s something profoundly healing in moving bodies together. In her case, there’s something profoundly healing about keeping time together as a tap dancer. Bonding and pro-social behaviour are captured in the world of tap dance, and Dianne considers it motivating to continue doing tap dance because it has a net positive effect socially: “Tap dancing is profoundly powerful in its self-study ability to connect and heal. It requires a level of focus…discipline and commitment…it has lessons in it no matter what people may think…if you don’t tap dance or have had lessons then you don’t understand the richness of the form that you carry wherever. Tap teaches you how to fall and how to get back up. It teaches you perseverance and humility and boy does that lesson come back again and again.” When it comes to the art of dance and performance, I think specifically of those husbands, boyfriends, and partners who might not hold any interest in dance and who may have been dragged to the theatre by their significant other. How can tap win over an audience when they walk into a theatre? Dianne recognizes that dance will not be to everyone’s taste within an audience, but it is her genuine hope that as dancers, and people who place work on the stage in front of audiences, it is their job to be as authentic and to be as present in the moment. The artists are generous as they are trying to make a connection to the very generous folks who have shown up: “We as artists don’t take that very lightly, not at all.” Montgomery firmly avows. “People who take their time, their money, their precious resources and come and spend an evening with us. As someone who creates for stage work, I take that responsibility super, super seriously.” Dianne invites ALL audience members to see a dance show with open authenticity, which can be very disarming. Hopefully, if the dancers and artists are lifting the moment on the stage then the audience should be feeling that lift. If we’re on the stage feeling constricted, then the audience should be feeling constricted. This is the goal for all live shows, and yes, it can go astray if egos are involved as that builds barriers and creates a kind of different performative rather than experiential. And how is Dianne feeling about this gradual return to live performance with Covid still hovering and hanging in the air? Even before she began to address the question, Dianne acknowledges the incredible very real loss that so many have experienced whether it be loved ones, lost livelihoods, homes, partners, friends, family, or senses of self-regarding mental health. The picture has not been good for many. Coming out of Covid, Montgomery likens it to a two-year hiatus, but within this hiatus there was a huge opportunity to deepen the practice of dance if you could or were able to spend time on it. Throughout the pandemic, a lot of artists had to move into other kinds of work to survive during this time. A lot of dance classes and work shifted to Zoom and other online platforms, and there were challenges regarding the time lagging in Zoom which was difficult to manage. Dianne stated that dance artists got on the best they could with what they had. There were little silver linings, however. Virtual classes had the advantage of being global in connection, so Dianne was teaching classes that had folks from Germany, the UK, all parts of the US and all over Canada. These students began to know each other, and they may not have been able to make these connections had they not been in the Zoom room together. For tap classes, yes, Dianne once again said the artists did the best they could given what they had, but the beautiful quality of the art of tap dance needs to be heard live through the ear and not through a computer or television screen. So much was learned about online classes and all the artists involved learned so much about humility. And what’s next for Dianne once ‘Softly Losing, Softly Gaining’ is complete at Fall for Dance? Dianne calls herself in process all the time. This is something she believes will be forever. She plans to continue working and to continue evolving as an artist and bring kindness into the equation of her work as she continues to learn while encouraging those around her to discover who they are and how they relate to what’s bigger than us. A final statement she told me about artists made me laugh: “Every night I quit and every morning I get back up and put my shoes on again.” How often I’m sure all of us have felt about doing this and yet we get back up and go again? To learn more about Fall for Dance North, visit www.ffdn.com . Previous Next

Back Cynthia Dale Moving Forward --- Joe Szekeres Let’s count ourselves lucky, Canada, that we have an eloquent and articulate Cynthia Dale who opened her compassionate heart and soul to me in our conversation about how she has been faring during this worldwide pandemic. I remember watching her work on CBC’s ‘Street Legal’ during my undergraduate years, but I had no idea how diverse her stage performance resume was until I reviewed it myself. At the Stratford Festival, I saw her work in a poignant ‘Miracle Worker’ where Cynthia played the tenaciously resolved Annie Sullivan. Ms. Dale was also touching in her portrayal of Maria Rainer in ‘The Sound of Music’. Most recently, I saw her work in an astonishing production of ‘Fun Home’ through the Mirvish series where I freely admitted that I wiped tears from my eyes at the end. Cynthia and I conducted our conversation via Zoom. Thank you so much, Cynthia, for this opportunity and I hope to speak to you in person soon: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears we are slowly emerging to some new way of living. How have you been faring? How has your immediate family been doing during this time? Actually, I don’t feel like we’re emerging at all. I beg to disagree on that. The numbers are horrendous in Ontario today (and Cynthia is correct on this account as the number have been rising the last few days). I feel like on pain of death people will feel like we’re emerging. It’s been an interesting time. I have a low-level rung of anxiety all the time. It’s like a low-grade fever that’s there all the time because I think it’s just there in the world. There’s no doubt that in the beginning there was an overwhelming amount of sadness and fear, and I don’t have the same amount of that anxiety, fear and sadness as I had. I still have incredible caution. I’m also not a fan of the term ‘new normal’. I don’t know what that means. We will never go back to the way life was, I don’t think. It will just be different. As far as the industry I’m in, I understand there are film and tv productions and things getting back and filming, but under such incredible circumstances. Theatre has not gone back and cannot go back, and it will be so long before that can happen, and this makes me incredibly sad. The term ‘new normal’ is a sugar coating and fake. If this has taught us anything, it’s to be incredibly honest in every single situation with every single person at every moment because there’s no time left. For years, we’ve heard use the good china, burn the good candles…people, what are you waiting for? Do it now, honey, c’mon, enough already. As a performer, what has been the most difficult and challenging for you professionally and personally? Well, I guess they sort of bleed together because the most challenging thing for me was to sing again, in fact. I couldn’t sing. I lost my voice. My heart, I couldn’t sing. I was too sad. I was too in fear. I locked it all down and I didn’t sing for five, six months. I had no real desire to do it. I don’t sing just for the sake of singing as there’s a goal in mind. I didn’t have a thing I was working towards because ‘towards’ was just a big question mark. Koerner Hall wasn’t going to happen so I didn’t have to work on those. And so, personally it was just all I could do to open my eyes every morning, thank God for the day, thank God for my health and go from there. That was it. It was a matter of putting one foot in front of the other, and all I could plan was what was for dinner, that’s all. That’s the only plan that could happen for thousands, millions of people. We couldn’t plan anything else. It was just a matter of taking care of yourself, taking care of your family, and just getting through. That morphs and changes and you plant flowers, you help move your son into his own apartment and all those things, and life goes on. And I started to sing again, thank God, in August. But it was an interesting process. People would send notes on Twitter, other singers would comment and say, “I tried to sing today and all I could do was sob.” And that’s what was happening. I sobbed every day for four months, like everybody in the world. People just cried, a lot. And it wasn’t about feeling sorry for myself, it was just a matter of this is all really hard what’s going on in the world. And if you are at all an empath and feel what’s going on in the world, you are aware of it. I knew everybody was having the same problem I was having. So many other singers and people were having the same problem, so I didn’t feel weird or awed. I actually felt there was a great group of us around the globe feeling like this or that. And slowly, slowly, slowly, I listened to my body, I listened to my spirit, l listened to my heart, and I knew I would sing again at some point, but I didn’t push it. I didn’t have to because there was no gig coming up. And when the possibility of something coming up, I started to sing again. I wasn’t different from so many performers, really. I have friends who are on Broadway, friends who are in shows in Toronto, and they literally walked out of their dressing room one night, and their stuff is still sitting in their dressing room. It’s like everything is frozen in so many areas of the world. People who left their offices back in March, their desks are still exactly as they were, the coffee mug, the pictures of the family, the ‘to do’ pile. People didn’t know how long this was going to last or that this was going to happen. I wasn’t different from everybody else. Everybody is still feeling this and I’m not ashamed to say it’s been really hard. The richness of my garden and family and cooking, (and thank God I love to cook), all of that, my goodness what would we do without it? Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I wasn’t actually filming or rehearsing anything, but I was supposed to be doing a production of ‘Follies’ this fall in October at Koerner Hall, a concert version. That was in the world, in my psyche and in my body in thinking about it, rehearse, learn the music. That inevitably got stopped. I had a few other music concerts and gigs to sing at but other than that, no. What have you been doing to keep yourself busy during this time? I walk a lot but Peter (Mansbridge, retired newscaster from CBC) and I don’t walk together. We walk in our own spaces, listen to our own audio books. I paint, I love to paint and that for sure got me through the first eight weeks. I painted a lot. I’ve always been a big reader. I read a lot. Binge watcher of TV and goodness knows I’ve watched a lot more now than I have before. We all sort of do what we do, to keep busy, happy and fulfilled. I’m loving singing right now and that’s a good thing. The singing is just for me right now. It’s a funny time, isn’t it? Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Even before all this whenever I’ve mentored, taught, lectured, I’ve always said to theatre students, “Get a Business Degree”. You are a business! You are a business and you’re going to have to know how to pay your agent, pay your taxes, maybe start a theatre company, pay a publicist. Do all those things and you need to have that ability. It’s great you can do a triple time step, that’s wonderful; it’s great that you can sing a high C and know five Shakespeare monologues, but you also need to know the nuts and bolts, and that has absolutely nothing to do with you may want to do something else in life, or you should have a back up plan. I don’t believe that it’s not about that, at all. You, yourself, are the backup plan, and so you need to fill up yourself with knowledge and with stuff that gives you opportunities because you may turn 40 and get sick and tired of having $350 in the bank which is what a lot of actors and performers have. You don’t go into this industry for money. If you’re lucky and click on TV or film, you might make some money, but you need to know more. And so, I would say to anyone even before Covid and the pandemic. Now, I say it even more. I have friends who are the leading players in some of the top shows in the city who are working now at the liquor store. They have to pay the bills. These people were making top dollar in the theatre, one of the most coveted jobs in the theatre scene, and they have to do something else now. There’s nothing wrong with that. It’s a noble thing to pay your bills. You need to be able to diversify. In our parents’ generation, they did one thing – teachers, plumbers, accountants. They did one thing, hit retirement and that was it. Now, young people do this, and they do that. It’s not an either or. They can be incredible photographers and have a great career and take 8X10 photographs for headshots, and they’re kick ass dancers and singers and work all the time at the Stratford Festival. People do lots of things – they have a web design company during the day and work at night on Broadway. Younger people do more things and different careers. They don’t do one career for 30 years anymore like our parents did. It’s a different thing. If you’re 21 and coming out of theatre school, I might say, “You may not want to do this in twenty years time, or ten years. You may, as it’s a calling and there’s no doubt about it, but that doesn’t mean you don’t have to stop any passion you have for something else. It doesn’t lessen your ability to be an actor or a singer or a dancer. It enhances it. It fills you up more.” I guess that’s what I would say. Do you see anything positive stemming from this pandemic? (with a slight laugh) Yes, sometimes, the question is, ‘Does it outweigh the negatives in my mind?’ Staycations instead of travelling. Lots of things, but the question to me is does it outweigh. I’m not a negative, downer type of person so I can’t live in the place of it’s all that. I have to believe the good that will come out of this will outweigh the bad. It’s really hard to think of that though with all of the people who have died, all the people who have lost someone. It’s really hard to believe that the good could ever outweigh it. I’m a keener, a Pollyanna, but it’s really hard to believe in the face of the sadness. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? Devastating. Absolutely devastating. I can’t imagine how some of these larger theatres are going to continue. Just North America alone…Think of the touring companies. How do you do that? How do you entice people back? I don’t see how you entice people back into a theatre until there’s a vaccine, and a safe vaccine at that. I can’t imagine people wanting to sit beside someone. It’s one thing to get on an airplane and sit beside someone to travel across the pond. Yes, it’s longer than a two- or three-hour theatre show. I don’t want to sit in the theatre and wear a hazmat suit. I don’t want to sit in a theatre and think my two or three hours of potential enjoyment are at the cost of potentially getting sick or getting someone else sick. It’s the opposite of the enjoyment and the magic of theatre. I don’t want to sing in fear. I can’t sing in fear. I can’t sing afraid. And singing is one of the worst things for transmitting it, right? And so, I don’t want to sing or be in an environment where someone could get sick or I could get sick or bring it home to my loved ones. I think it’s going to be a long time. I think there will be shows that were up and running that won’t be running again be that in Toronto or definitely on Broadway. It’s almost a given in the West End. Just this week Andrew Lloyd Webber came out again and said some of his shows just won’t come back that were playing. It’s going to be years and years before recovery. I think of those school touring programs. They seem so small but they’re so important. How do you get them back? For some kids, that’s their first inkling of theatre. That spark, when they lie their head on their pillow and think, “My God, something changed in me today.” Or they sit at the dining room table over dinner and tell their parents, “Please, I want to take a dance class, or I want to learn to play the saxophone.” This ripple effect has stopped-there will be none of that. My dearest friend is a Grade 8 teacher and all those extra things like band practices, choir, stuff related to the arts has just stopped. Those kinds of things are truly heartbreaking to me. That’s a black hole that’s going to be felt for so long, the missed opportunity of inspiring a kid to be in the arts. That’s gonna happen and we won’t feel it for 10 or 15 years. That breaks my heart. I always felt the most important time at The Stratford Festival was the fall season when all the school groups arrived to watch a play. This is the audience of tomorrow. These are the ones who will keep coming to Stratford and keep the Stratford Festival alive when I’m long gone. They’ll be here, they’ll be bringing their kids here. Those audiences, those shows, gone. That breaks my heart. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? No, it’s not really my thing. In the beginning, the first six, eight weeks, I co-hosted a show with Tom Jackson called ‘Almighty Voices’ that was singers. Tom kept asking me to sing, and I said, “Tom, I can’t sing but I’ll co-host with you.” Once, in honour of someone who had passed, a group of us sang ‘Amazing Grace’. But other than that, it’s not my thing. I don’t play an instrument. I can’t accompany myself. It’s too hard figuring out how to link me with the orchestra in Edmonton which were all options. I’ve watched some live stream shows. I don’t count watching ‘Hamilton’ when it played. It wasn’t a live streamed show, it was a filmed version and I could watch that every single day for the rest of my life. It’s not my favourite way to watch. It’s a different thing. It’s not theatre. There’s nothing wrong with watching television or going to the cinema, but it’s not theatre. (Cynthia then links her fingers together) Theatre is here (left fingers), the audience is here (right fingers) and the magic is in between the two. It’s what happens right there. It’s in the ether. It’s ‘that’ thing called ‘it’, and ‘it’ doesn’t come across on film or in television. It’s a different thing and thank God it is. You can’t describe it. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? (pause) You’re going to make me cry…(pauses)… It’s a funny thing, I turned 60 this year and I don’t have the same ambition as I’ve had for the last 45 years of my life. And I’m aware of that in my body. It’s changed, it’s morphed. I don’t feel like I’m done yet, but I don’t feel like “It’s the be all or end all” or “I have to be performing.” Believe me, I’ve asked myself this question many times as I sit up here in my little office. This is where I sing. I check in – what is it…it’s not about the vocal cords because singing for me is so much more than the vocal cords. Where is it in my body that I still love to perform or still feel like I want to? I did a show called ‘Fun Home’ in Toronto (side note: I saw it and cried at the end). I found it interesting at that point in my life I was more nervous (almost sick) for the opening night of ‘Fun Home’ than I was the ten years of opening nights at the Stratford Festival. It didn’t matter. I found it interesting and I think about it and why was it that particular opening night of ‘Fun Home’. That show cost a lot to do and to live, and all of us paid for it every night but happily to pay it. I’m prepared to pay it still. I don’t have to pay it as often as I used to do. It’s not because I don’t want to as I’m still prepared to do that and give that. Thank God, that’s come to me because there aren’t a lot of parts for 60-year-old broads, that many that you really, really want to do. And so, if I was in a corner, crying because I wasn’t working that’s different but I’m not. I’m fine with it. I just now know when I sing now there’s something that vibrates that still feels good. It’s like taking my B12s in the morning, another vitamin in my body, another something which still reminds me, “I’m not finished yet.” We’re in the process of building a house in Scotland and I may be spending a lot of time over there in my life. If I’m desperate to sing, I’ll go sing in a pub, I don’t know what I’ll do. I’ll go sing in the Highlands somewhere because that vibration is something that I still need. To learn more about Cynthia Dale, visit her website: www.cynthiadale.com . Previous Next

Back Lucie Arnaz Luckinbill 'Ultimately, success requires taking action and making choices." Joe Szekeres Three years ago, I was appreciative Lucie took the time to chat with me. You can read her first profile here: https://www.onstageblog.com/profiles/lucie-arnaz-luckinbill. It was a rather humorous experience attempting to connect via Zoom with each other this time. Our email correspondence was filled with comical attempts to schedule due to our different time zones on the West and East coasts. After much online effort, we finally managed to connect and had a good chuckle about the whole situation, agreeing that it was quite the “clusterf&%k.” I felt highly comfortable picking up where we last left off three years ago. Lucie’s wry sense of humour and love of life remain keen and sharp as ever. Everyone is well in her immediate family: “Knock wood, babe. Everybody’s doing great. My brother and I are getting on. I’ll be 72 in July, and Desi’s 18 months younger. He and I are healthy. I have three beautiful grandchildren. My three children are working and happy, and my two stepsons are working and happy. Larry is of a certain age, and he has all of his wits about him. I’m a very, very grateful gal, very lucky.” Lucie calls these last three Covid years a great exercise in the study of impermanence, the good and the ugly. Covid’s always going to be here, so we just had to get used to that going forward. Change is inevitable, and you have to live in the moment and live for tomorrow but be ready for the plans to change. A lot of stuff has happened to all of us in these last few years, and we’ve learned this the hard way. She also had a knee replacement and had just returned from her physiotherapy before our conversation. Calling herself a late bloomer, a come-from-behind horse, as it has taken almost a year to recover, Lucie was up and around a few days after the surgery, but the knee still swells. She coyly stated she’s not tap dancing yet, but her knee is almost back to normal. It’s totally fine at the moment. She’s not in any hurry regarding the other knee, given what she experienced in this first recovery phase. Lucie also travelled to Kenya in February of this year as part of Craft Tours group with Jim West and said it was ‘life-changing.’ It was a culture none of them on the tour could even imagine. In her words, the tour was a hell of a lot more than a safari. She can’t wait to return: “The combination of the magnificence of the wild animals that you see, the tenaciousness and the kindness of the Kenyan people. I was astounded. Every person I met was polite and gentle, and smiling. And they live in such abhorrent poverty most of the time. The children have to walk four miles to school by themselves. Some of them are 5 years old. They’re in the dust and dirt to sell whatever they can make on the streets”. It was an entirely different world outside the walls of beautiful trees surrounding the hotel. The Kibera slum in Kenya was one of the worst seen anywhere. She also spoke of touring a school where it was exorbitantly costly (around $240 US for one year) to send a child. That’s not a lot of money, so Arnaz and a few of her friends took each of the six kids individually and paid for them to attend the school for the next three years. Arnaz rationalized this school fee payment in comparison to shopping weekly at the grocery store. When the tour group returned, the hoops she and her friends had to jump through to send the money for the next three years in support of these six students seemed insurmountable. Finally, a bank account was established where the money would be deposited and then distributed to the students at the school. Arnaz and the group were assured that no money laundering or distributing would go elsewhere except to the students. But tracking down and ensuring the money was going through the proper channels was hard. Arnaz is now back to touring her concert shows across the U.S., postponed during the pandemic. ‘I Got the Job: Songs from My Musical Past’ opens in New York’s 54 Below on July 19 and runs to July 22 inclusive. I’m attending the opening night to review and looking forward to returning to the city and finally seeing Lucie at her nightclub performance. How does she feel about venturing back to the Big Apple? “There’s nothing quite like it. There isn’t another city anywhere that’s like the hub of fashion, industry, finance, theatre, and music. It’s a town that embraced me and welcomed me, and that’s a wonderful feeling. Larry and I have many friends on the east coast, so it’s an opportunity to get caught up, see them, and have them come to see the show…when I’m working there, it’s just like I’m Cinderella at the Ball. There’s no place like it.” Yes, Lucie is cognizant of the constant traffic, construction, and noise compared to the peaceful environs of Palm Springs, where she and Larry live. She balances that by comparing New York to a big campus where all the performers are in a concentrated area. At a particular hour of the night, everyone is walking to work from the nightclubs to the theatres and restaurants, and everyone is waving to each other. How cool is that? As a proud Canadian, I asked when she was planning to cross the border and come to Toronto. She smiled and wished she was in charge of wherever she went. She would love to call up a venue or theatre and say: “I’m ready, willing and able,” but concert bookings don’t work that way. Any interested persons are to go to Lucie’s website and follow the instructions. Toronto producers and concert venue promoters – are you listening? Yet a lot has changed in how Lucie approaches her concert work. Depending on scheduling and if an artist gets sick, it can change on a dime. Lucie isn’t naïve to think Covid is gone because it’s not. It’s still out there. She’s constantly on the alert: “I wear a mask everywhere, not because of getting sick or feeling unwell; I’m afraid that I’m not going to be able to leave. I leave in ten days for New York for my show that has been postponed four times, and I don’t want to get sick. I have to be very cautious.” The aftermath of Covid has also affected Lucie’s concert work. She used to love to come out to the audience to chat, pose for pictures and autographs and sell CDs. She can’t do that anymore. Instead, she wears a mask when she does go out to greet people. She feels guilty if people want to take pictures, but she has to face the reality that she can’t get sick. Larry Luckinbill (Lucie’s husband) is of a certain age, so she also has to be cognizant and aware of him and his health. Lucie doesn’t have any theatre work lined up at the present time except for the concerts. She loves live audiences and feels at home in her concerts. Regarding any upcoming plays in the future, she calls herself a woman of a certain age. She would have to be super passionate about the material to leave Larry or uproot him if she is cast in an 8 show per week schedule. She couldn’t say no to the revival of ‘Pippin’ several years ago. Although she only had one scene where she played Berthe and got to sing that terrific song, ‘No Time at All,’ Lucie also was trained to do a trapeze routine high above the stage. That was an experience she was glad to fulfil. Family is vital to Arnaz. She and Larry are in what she calls ‘the third act,’ and her husband remains rightly so her priority. They want to spend as much time together as they possibly can, so at this time, producing, directing and concert work suits Lucie just fine. But that doesn’t exclude any producers from contacting her if there is an upcoming project. She reads everything, and if it entices her, she, and Larry talk about the project. It all depends on what the project is, where it is and for how long. Although artists cannot earn a decent living at the theatre, Lucie says it’s the place where her heart has always been. If she didn’t love it, she wouldn’t do it anymore. There’s much rejection in this business, and she still would tell up-and-coming artists not to be bothered by that. It’s an opportunity to be tenacious, to learn and practice. Rejection is never personal in the theatre. Arnaz was fortunate to have had her start on her mother's television show, which opened doors for her. She seized the opportunity and never looked back, knowing that having an advantage only gets you so far. Ultimately, success requires taking action and making choices, especially when bills need to be paid. Lucie faced a similar dilemma, as she had a passion for both family and live performing/theatre. Balancing these two aspects of her life was not always easy, and every choice required careful consideration. Speaking of television shows, Lucie also appeared in the early 90s in the terrific comedy/drama ‘Sons and Daughters’ and loved working on it. Is there any talk of her appearing in another show anytime soon: “There are about five and a half people who can plan their television future and 55,000 in the Screen Actors Guild. (and we both had a good laugh). No, I don’t have any plans. Sometimes things come my way, and I turn them down because I’m not passionate about them…I pick and choose my work carefully.” As we wrapped our Zoom conversation, I threw some quickie questions to get an immediate response. 1. If your life was turned into a live performance play/musical, whom would you like to see play you? Larry? Your brother? Your parents? I have the same answer for all these individuals – “The best damn actors of the time with a damn good script.” Who knows when that will happen? It would depend on what ages of Larry, my brother and me. I think enough has been done about my parents, so I can’t see that happening anytime soon. But I’m not in charge. 2. What book(s) are you reading right now? Generally, I’m not a book reader since I don’t have the time. I do the shopping and the cooking and other things, so that’s my priority. When I have an opportunity, I read a lot of books by listening to them, and that has helped me to get through a number of them. I love biographies more than fiction. I’ve been reading everything from Mel Brooks’ autobiography to Michelle and Barack Obamas, Carl Reiner, and Randy Rainbow’s. 3. Is there a particular place you have not been to yet, but feel drawn to visit? Ireland. We’re going next June with the Craft Tours, and I’ll do my show. Larry will come with me this time. He really wants to go. I’ve never been there so I really want to see it. 4. You and Larry have been married for 43 years. What’s one piece of advice you would give to newlyweds? To new grandparents? To newlyweds and married people – ‘Never give up.’ Stuff happens; you get mad at some dumb stuff and can have some really bad fights. Go back into the room and say you’re sorry, even if it’s not your fault. Don’t give up. People don’t know how to talk about stuff today. To new grandparents – “Enjoy every blessed minute because it goes by so fast. Don’t be judgmental. Let your children raise their children and be there for them.” 5. You’ve been elected President of the United States for one week. What would you focus on and try to change in that week? Global warming, helping the planet survive and convincing the world this is a priority. It’s the one thing that scares me more than Donald Trump, more than gun control, more than women’s rights being taken away, more than Russia, more than China. It’s the planet, for God’s sake. If we don’t have the planet, none of this other stuff matters. To learn more about Lucie and her concert work, visit her website, www.luciearnaz.com . You can also follow Lucie on Facebook: @LucieArnazOfficial. ‘I Got The Job: Songs from My Musical Past’ plays at 54 Below, 254 West 54th Street, Cellar, New York City, July 19 – 22, 2023, inclusive. For tickets and more information, visit 54below.org. I’ll post my review after opening night. Previous Next

Dramas The Bee's Knees by Judy Reynolds Click Here 'Rosmersholm' by Henrik Ibsen. Adaptation by Duncan Macmillan Click Here 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Click Here 'Get That Hope' by Andrea Scott WORLD PREMIERE Click Here 'The Saviour' by Deirdre Kinahan CANADIAN PREMIERE Click Here 'Witness for the Prosecution' by Agatha Christie Click Here 'Sequence' by Arun Lakra Click Here 'Doubt' by John Patrick Shanley Click Here 'Mary's Wedding' by Stephen Massicotte Click Here 'Isle of Demons' by Robert Chafe THE TORONTO PREMIERE Click Here 'Jim Watts: Girl Reporter' by Beverley Cooper Click Here Canadian Stage DREAM IN HIGH PARK presents 'HAMLET' by William Shakespeare Click Here

Solos "As I Must Live It' written and performed by Luke Reece Click Here 'Age is a Feeling' written and performed by Haley McGee Click Here 'Guilt: A Love Story' written and performed by Diane Flacks Click Here 'Hypothetical Baby' written and performed by Rachel Cairns Click Here 'Monster' by Daniel MacIvor Click Here 'No One's Special At the Hot Dog Cart' by Charlie Petch Click Here 'A Christmas Carol' by Charles Dickens Click Here 'Dana H' by Lucas Hnath Click Here 'Here Lies Henry' by Daniel MacIvor Click Here 'Living with Shakespeare' by Jeremy Smith and Steven Gallagher. Presented by Driftwood Theatre Click Here 'My Name is Lucy Barton' adapted by Rona Munro based on the novel by Elizabeth Strout Click Here 'One Step At A Time' by Andrew Prashad Click Here

Opera 'Acis and Galatea' by G. F. Handel Click Here 'The Resurrection' by George Frederick Handel Click Here G. F. Handel's 'The Resurrection' (Film) Click Here Jeannette Lajeunesse Zingg and Marshall Pynkoski Click Here 'Rocking Horse Winner' based on D. H. Lawrence's short story Click Here Angel Click Here Idomeneo Click Here

Welcome to News Here in the News section of ‘OUR THEATRE VOICE’, we will let our readers know of what’s going on in other professional companies – seasons, upcoming seasons, announcements etc. News GANANOQUE'S THOUSAND ISLANDS PLAYHOUSE ANNOUNCES ITS 2025 SUMMER SEASON Click Here RUTAS Festival now on stage until October 6. In partnership with Aluna Theatre, Theatre Passe Muraille and Factory Theatre Click Here 'Jim Watts: Girl Reporter' by Beverley Cooper Click Here 'Shakespeare in Love' adapted by Lee Hall from the screenplay by Marc Norman and Tom Stoppard Click Here PORT HOPE CAPITOL THEATRE’S INCREDIBLE 2025 LINEUP Click Here Moss Theatre Collective Announces Inaugural Production 'Fierce' written and directed by George F. Walker Click Here 'Making It Up (One Playwright to Another) presented by One Playwright Productions Click Here Steve Ross's LIFE WITHOUT to be read February 29 by NEW STAGES in Peterborough Click Here

Welcome to Topical Points of Interest If a live theatre production induces conversation, then a production has made a tremendous impact that is worthy of discussion. TOPICAL POINTS OF INTEREST aims to discuss what’s going on in the theatre industry. This section allows voices to be heard and shared always within a respectful manner at all times. Any discussion that is deemed inappropriate for any reason will not be posted under any circumstances. Topical Points of Interest A Resilient Conversation Click Here RUTAS Festival with the theme of PERSONAL CARTOGRAPHIES this year Click Here A visit to Henry Purcell's 'Dido and Aeneas' and now I'm hooked Click Here The Crossover from non-Union to Union actor/artist" Click Here

Search Results 619 items found for "" Dramas Dramas 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Click Here 'Get That Hope' by Andrea Scott WORLD PREMIERE Click Here 'The Saviour' by Deirdre Kinahan CANADIAN PREMIERE Click Here 'Witness for the Prosecution' by Agatha Christie Click Here 'Cymbeline' by William Shakespeare. Now on stage at The Stratford Festival Click Here 'A Streetcar Named Desire' by Tennessee Williams Click Here 'Mary's Wedding' by Stephen Massicotte Click Here 'Isle of Demons' by Robert Chafe THE TORONTO PREMIERE Click Here 'Jim Watts: Girl Reporter' by Beverley Cooper Click Here Canadian Stage DREAM IN HIGH PARK presents 'HAMLET' by William Shakespeare Click Here 'Hedda Gabler' by Henrik Ibsen. A New Version by Patrick Marber. From a Literal Translation by Karin and Ann Bamborough Click Here 'Rear Window' adaptation by Emily Dix Click Here Dramas 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Back 'The Diviners' based on Margaret Laurence's novel with text by Vern Thiessen with Yvette Nolan WORLD PREMIERE Now on stage until October 2 at the Tom Patterson Theatre, Stratford Credit: David Hou. Pictured: Irene Poole as Morag Gunn with members of the ensemble Geoffrey Coulter, actor, director, adjudicator, arts educator “Another divine world-premiere tops Stratford’s exceptional season of new works and remarkable adaptations.” Stratford has had a memorable season of world premieres of original Canadian plays as well as fresh adaptations of literary classics. Some productions make bold statements, while others invite more reserved introspections on their respective themes, but they ALL speak to us about relationships and the human condition in some of the most thought-provoking and meaningful ways. The last of these productions to open is the world premiere of “The Diviners” adapted for the stage by Vern Thiessen and Yvette Nolan from iconic author Margaret Laurence’s classic autobiographical 1974 Canadian novel. Through creative and minimalist staging, co-directors Krista Jackson and Geneviève Pelletier use the metaphor of the coursing river to track the past, present and future of protagonist Morag Gunn as she struggles to finish her latest novel. Set in a cabin in 1972 small-town Ontario, Morag (Irene Poole) combats her writer’s block with large bottles of one hundred proof. After a fight with her adult daughter, Pique (Julie Lumsden), who flees in a fit of rage, neighbour Royland (Anthony Santiago) arrives and attempts to soothe her nerves with a fish he caught from the river. His act of giving is just the catalyst Morag needs to start writing as she’s set adrift in a flood of memories – of her traumatic childhood, her formative years being raised by foster father, Christie (Jonathan Goad), her years at university, her first boyfriend, her failed marriage to Professor Brooke Skelton (Dan Chameroy). Morag has an indomitable but ultimately unhappy spirit. She later conceives Pique with ex-boyfriend Jules and continues her life as a single mother. Indigenous narratives are brought beautifully to the fore in this tale of one person’s journey to reconcile her past, present and future. There’s an almost spiritual overtone to Morag’s efforts to reclaim who and what she is. Her struggles are myriad – as a woman in a man’s world of the seventies, a mother without a husband, a woman facing head-on her Métis heritage. It isn’t often you see a non-musical with a cast of 22 and a choreographer on the artistic team. Is this a play or a musical? Well, it’s definitely a play but the traditional Indigenous music and dance keep us framed in its message of national reconciliation. Even more striking about this production is the bare stage, which serves as the canvas for the colours of Morag’s life to be revealed. There’s virtually no set, save for a split four-tiered bleacher affair at one end of the thrust stage and a small square table that pops up and down from the floor at the other. I’m still wondering about the significance of the junk yard suspended high above the stage like some kind of modern art installation. Detritus of all kinds weaves its way like a meandering river. Perhaps an homage to Morag’s adopted father Christie, a garbage man and the symbol of consistency in her complicated life? As Jackson and Pelletier say in their program notes, “At the heart of the narrative lies the river, a metaphor symbolizing the moving course of life.” Jackson and Pelletier provide only sketches of where and what time we are; it’s our imaginations that fill in the gaps, the way they would when reading a favourite novel. Their ability to move us backward and forward in Morag’s timeline with mere blocking, a few lighting changes and the talents of their remarkable cast are simplhy extraordinary. These two are character-driven directors who do full justice to Laurence’s detailed descriptions of Morag’s feelings of love and remorse, although I did find the gratuitous on-stage sex scenes between Morag and Jules does little to enhance our understanding of their love. The show moves quickly, and the cast more than rises to the occasion. The excellent ensemble acts like a Greek chorus—chanting, dancing, playing violin, guitar, and bagpipes as we travel back and forth through Morag’s life. Several play smaller roles, but all are fully engaged and invested in the narrative. Leading this exceptional cast is the luminous Irene Poole as Morag Gunn. Hers is a tour-de-force performance, captivating and authentic as the complex protagonist. She’s onstage almost the entire show, virtually every scene. Her physicality is exceptional as she seamlessly switches between child, teen and adult as the colours of her life unfold. A performance not to be missed! Julie Lumsden does triple duty as Morag’s daughter Pique, Young Pique and Scots Morag. Incredible versatility and honesty in each role. Her chemistry with Poole is heartwarming and thoroughly convincing. As Christie, Morag’s hard-working foster father with a heart of gold, Jonathan Goad is solid and unrecognizably crusty. With a thick Scottish accent (at times difficult to understand when he lets his volume drop), he channels Robert Shaw’s Quint character from the movie Jaws. As Jules, Morag’s former Métis boyfriend and father to Pique, Jesse Gervais strums guitar and sings Métis folk songs with conviction. He also has a fine comedic sense. Sadly, his chemistry with Poole doesn’t quite hit the heights the script calls for. Josue Laboucane and Caleigh Crow deliver fine performances as Jules’s father, Lazarus, and sister, Piquette, respectively. Cameron Carver creates intensity with his inspired choreography. He enhances the narrative by focusing the movement to reflect the emotion and intention of each scene. His dance is integral, particularly the follow up and in-sync movements in the incredible sequence with the pages of Morag’s novel spewing from her typewriter. Visually stunning! As mentioned, Bretta Gerecke's lighting and set design are stark overall. Warm amber lighting separates Morag’s present from her shadow-filled past and future. We always know where we are in time and space. The bleachers are nicely utilized as a front porch, school classroom, and university lecture hall, while the single pop-up desk always brings us home to Morag’s cottage in the present. So much is achieved with so little!! Jeff Chief’s 70s costumes are spot on. My partner commented that she had a denim skirt just like the one Morag wears in Act 2. Traditional Indigenous regalia is also featured in flashbacks and dream sequences. Andrina Turenne’s moving original music fuses contemporary, ethereal and Indigenous beats with spoken word to startling effect. At its heart, “The Diviners” is about a mother reconnecting with her daughter and wondering how to write her own happy ending with the people she cares about. Weaved throughout is the history of the Métis and Indigenous peoples in Manitoba. But it’s Laurence’s original overarching themes of reconciliation between cultures that make this play so important, so relevant, for today’s audiences! Running time: Approx. 2 hours, 25 minutes with one intermission/interval. The production runs until October 2 at the Tom Patterson Theatre, Stratford For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “The Diviners” based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Directed by Krista Jackson with Geneviève Pelletier Choreographer – Cameron Carver Set and Lighting Designer – Bretta Gerecke Costume Designer – Jeff Chief Composer – Andrina Turenne Sound Designer – MJ Dandeneau Performers: Irene Poole, Christopher Allen, Gabriel Antonacci, Dan Chameroy, Caleigh Crow, Allison Edwards-Crewe, Jesse Gervais, Jonathan Goad, Josue Laboucane, Julie Lumsden, Anthony Santiago, Tyrone Savage, Sara Topham and other Canadian artists in the ensemble. Previous Next 'The Diviners' based on Margaret Laurence's novel with text provided by Vern Thiessen with Yvette Nolan. WORLD PREMIERE Back 'The Diviners' based on Margaret Laurence's novel with text provided by Vern Thiessen with Yvette Nolan. WORLD PREMIERE Now on stage until October 2 at the Tom Patterson Theatre, Stratford. Credit: David Hou. Pictured: Irene Poole as Morag Gunn with members of the ensemble. Geoffrey Coulter, actor, director, adjudicator, arts educator “Another divine world-premiere tops Stratford’s exceptional season of new works and remarkable adaptations.” Stratford has had a memorable season of world premieres of original Canadian plays as well as fresh adaptations of literary classics. Some productions make bold statements, while others invite more reserved introspections on their respective themes, but they ALL speak to us about relationships and the human condition in some of the most thought-provoking and meaningful ways. The last of these productions to open is the world premiere of “The Diviners” adapted for the stage by Vern Thiessen and Yvette Nolan from iconic author Margaret Laurence’s classic autobiographical 1974 Canadian novel. Through creative and minimalist staging, co-directors Krista Jackson and Geneviève Pelletier use the metaphor of the coursing river to track the past, present and future of protagonist Morag Gunn as she struggles to finish her latest novel. Set in a cabin in 1972 small-town Ontario, Morag (Irene Poole) combats her writer’s block with large bottles of one hundred proof. After a fight with her adult daughter, Pique (Julie Lumsden), who flees in a fit of rage, neighbour Royland (Anthony Santiago) arrives and attempts to soothe her nerves with a fish he caught from the river. His act of giving is just the catalyst Morag needs to start writing as she’s set adrift in a flood of memories – of her traumatic childhood, her formative years being raised by foster father, Christie (Jonathan Goad), her years at university, her first boyfriend, her failed marriage to Professor Brooke Skelton (Dan Chameroy). Morag has an indomitable but ultimately unhappy spirit. She later conceives Pique with ex-boyfriend Jules and continues her life as a single mother. Indigenous narratives are brought beautifully to the fore in this tale of one person’s journey to reconcile her past, present and future. There’s an almost spiritual overtone to Morag’s efforts to reclaim who and what she is. Her struggles are myriad – as a woman in a man’s world of the seventies, a mother without a husband, a woman facing head-on her Métis heritage. It isn’t often you see a non-musical with a cast of 22 and a choreographer on the artistic team. Is this a play or a musical? Well, it’s definitely a play but the traditional Indigenous music and dance keep us framed in its message of national reconciliation. Even more striking about this production is the bare stage, which serves as the canvas for the colours of Morag’s life to be revealed. There’s virtually no set, save for a split four-tiered bleacher affair at one end of the thrust stage and a small square table that pops up and down from the floor at the other. I’m still wondering about the significance of the junk yard suspended high above the stage like some kind of modern art installation. Detritus of all kinds weaves its way like a meandering river. Perhaps an homage to Morag’s adopted father Christie, a garbage man and the symbol of consistency in her complicated life? As Jackson and Pelletier say in their program notes, “At the heart of the narrative lies the river, a metaphor symbolizing the moving course of life.” Jackson and Pelletier provide only sketches of where and what time we are; it’s our imaginations that fill in the gaps, the way they would when reading a favourite novel. Their ability to move us backward and forward in Morag’s timeline with mere blocking, a few lighting changes and the talents of their remarkable cast are simplhy extraordinary. These two are character-driven directors who do full justice to Laurence’s detailed descriptions of Morag’s feelings of love and remorse, although I did find the gratuitous on-stage sex scenes between Morag and Jules does little to enhance our understanding of their love. The show moves quickly, and the cast more than rises to the occasion. The excellent ensemble acts like a Greek chorus—chanting, dancing, playing violin, guitar, and bagpipes as we travel back and forth through Morag’s life. Several play smaller roles, but all are fully engaged and invested in the narrative. Leading this exceptional cast is the luminous Irene Poole as Morag Gunn. Hers is a tour-de-force performance, captivating and authentic as the complex protagonist. She’s onstage almost the entire show, virtually every scene. Her physicality is exceptional as she seamlessly switches between child, teen and adult as the colours of her life unfold. A performance not to be missed! Julie Lumsden does triple duty as Morag’s daughter Pique, Young Pique and Scots Morag. Incredible versatility and honesty in each role. Her chemistry with Poole is heartwarming and thoroughly convincing. As Christie, Morag’s hard-working foster father with a heart of gold, Jonathan Goad is solid and unrecognizably crusty. With a thick Scottish accent (at times difficult to understand when he lets his volume drop), he channels Robert Shaw’s Quint character from the movie Jaws. As Jules, Morag’s former Métis boyfriend and father to Pique, Jesse Gervais strums guitar and sings Métis folk songs with conviction. He also has a fine comedic sense. Sadly, his chemistry with Poole doesn’t quite hit the heights the script calls for. Josue Laboucane and Caleigh Crow deliver fine performances as Jules’s father, Lazarus, and sister, Piquette, respectively. Cameron Carver creates intensity with his inspired choreography. He enhances the narrative by focusing the movement to reflect the emotion and intention of each scene. His dance is integral, particularly the follow up and in-sync movements in the incredible sequence with the pages of Morag’s novel spewing from her typewriter. Visually stunning! As mentioned, Bretta Gerecke's lighting and set design are stark overall. Warm amber lighting separates Morag’s present from her shadow-filled past and future. We always know where we are in time and space. The bleachers are nicely utilized as a front porch, school classroom, and university lecture hall, while the single pop-up desk always brings us home to Morag’s cottage in the present. So much is achieved with so little!! Jeff Chief’s 70s costumes are spot on. My partner commented that she had a denim skirt just like the one Morag wears in Act 2. Traditional Indigenous regalia is also featured in flashbacks and dream sequences. Andrina Turenne’s moving original music fuses contemporary, ethereal and Indigenous beats with spoken word to startling effect. At its heart, “The Diviners” is about a mother reconnecting with her daughter and wondering how to write her own happy ending with the people she cares about. Weaved throughout is the history of the Métis and Indigenous peoples in Manitoba. But it’s Laurence’s original overarching themes of reconciliation between cultures that make this play so important, so relevant, for today’s audiences! Running time: Approx. 2 hours, 25 minutes with one intermission/interval. The production runs until October 2 at the Tom Patterson Theatre, Stratford For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “The Diviners” based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Directed by Krista Jackson with Geneviève Pelletier Choreographer – Cameron Carver Set and Lighting Designer – Bretta Gerecke Costume Designer – Jeff Chief Composer – Andrina Turenne Sound Designer – MJ Dandeneau Performers: Irene Poole, Christopher Allen, Gabriel Antonacci, Dan Chameroy, Caleigh Crow, Allison Edwards-Crewe, Jesse Gervais, Jonathan Goad, Josue Laboucane, Julie Lumsden, Anthony Santiago, Tyrone Savage, Sara Topham and other Canadian artists in the ensemble. Previous Next This Month's Reviews Welcome to Monthly Reviews All monthly reviews will be placed under this tab. Once a show closes, each review will then be placed into its separate thematic category. August Reviews 'Get That Hope' by Andrea Scott WORLD PREMIERE Click Here 'Mary's Wedding' by Stephen Massicotte Click Here 'Romeo and Juliet' by William Shakespeare. Presented by The Stratford Festival Click Here 'The Goat, or Who is Sylvia?' by Edward Albee Click Here 'Witness for the Prosecution' by Agatha Christie Click Here 'London Assurance' by Dion Boucicault Click Here 'My Fair Lady' Click Here 'The Diviners' based on Margaret Laurence's novel with text provided by Vern Thiessen with Yvette Nolan. WORLD PREMIERE Click Here 'The Secret Garden - A Play With Songs' Click Here “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Click Here Home | Our Theatre Voice @szekeresjoe On Twitter Meet the Founder Joe Szekeres Involved in community theatre outside of the Greater Toronto area for over 30 years as an actor and director, Joe now reviews and comments on professional theatres throughout Ontario and Montreal. ​ Qualifications : Ontario College of Teachers (retired), Ontario Ministry of Education Additional Qualifications Dramatic Arts Parts 1 and 2 Bachelor of Education (Queen's University) Certificate of Honours Standing and Bachelor of Arts (King's College/University of Western Ontario) English Language and Literature Major/ French Minor ​ Theatre Ontario Workshop : 'Writing Reviews that Matter" with Lynn Slotkin ​ Theatre Ontario Workshop : "Writing Reviews that Matter" with Lynn Slotkin Our Story At Our Theatre Voice, we strive to be of service to write fair, unbiased and impartial reviews and commentaries. By doing this, we hope to encourage audiences to continue attending live theatre, an essential cultural format in community gatherings. Please send an email to us at ourtheatrevoice@gmail.com and we will get back to you in a timely manner. Meet the Original Web Designer Elodie Hraynyk For her work in building OUR THEATRE VOICE website, Elodie Hraynyk received the "Prix d'excellence academique Education cooperative" at her Grade 12 graduation ceremony. Congratulations, Elodie. She is currently updating our website and continues to do so to build OUR THEATRE VOICE's web presence. Elodie will begin her second year of undergraduate studies in Behavioural Science at Durham College. She will remain part of OUR THEATRE VOICE's team. Along with her interest in the theatre and all things arts-related, Elodie continues to make people aware of mental health issues through her own social media accounts. @el_hraynyk on Instagram Business inquiries: elodie.hraynyk@gmail.com Our Values These are our values. Please respect them. Respect ‘Our Theatre Voice’ includes all voices that will be heard and recognized with dignity and respect. Inherent Dignity ‘Our Theatre Voice’ recognizes the uniqueness of all individuals and will continue to reach out for their voice. Integrity ‘Our Theatre Voice’ believes in due diligence and we stand by what we say. Objective ‘Our Theatre Voice’ recognizes the importance of fair, impartial, and unbiased views of live theatrical performances. Meet the Guest Writers “I’ve known Dave Rabjohn and Geoffrey Coulter for over 30 years. Aaron Kropf was part of the Canadian writing team for OnStage Blog. These gentlemen have promised to be impartial, unbiased, and fair as they continue to work with me in sharing our commitment to you, the reader, what's happening on stage in professional theatre on Canada’s east coast, in Toronto, Stratford, London, Gananoque and Montreal.” ​ Contributing writers to OUR THEATRE VOICE: Peter Mazzucco, Louis Train, Olivia Jon Meet Contributing Writer Aaron Kropf Aaron has been a lover of the performing arts from a young age. He attributes that to growing up in Stratford and attending at least one performance at the festival from grade 4. Aaron has been involved with a number of community theatre groups, and worked for some of the largest theatre companies in the country. When not at theatre Aaron enjoys time with his family and living the east coast life. Meet Contributing Writer Dave Rabjohn As a youngster, I went to see a production of 'Who's Afraid of Virginia Woolf' at the old Colonnade Theatre on Bloor St. There were about five people in the audience - probably some special Tuesday matinee. I sat on a bench in the first row, my knobby knees sticking out into the playing area. Martha was literally on one side of my nose and George was on the other side. They were screaming back and forth over my head like I was the tennis net. Boom - fifty years of loving theatre ensued. Meet Contributing Writer Geoffrey Coulter Award-winning actor, director, singer, arts educator, and adjudicator. He is proud to add theatre reviewer to his credentials. Geoff has performed and directed in Canada and the U.S. for over four decades. He has served as an adjudicator for regional play festivals. He has been the artistic director of many youth theatre programs/productions with the hope of inspiring the next generation of artists. Geoff has appeared in theatre, commercials, TV series and feature films, and his voice can be heard narrating documentaries, video games and educational programs. When he’s not in a theatre or recording studio, he’s teaching TV performance at the community college level. Dance 'The Diviners' based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Back 'The Diviners' based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Now on stage until October 2 at the Tom Patterson Theatre, Stratford. Credit: David Hou. Pictured: Irene Poole as Morag with members of the ensemble Geoffrey Coulter, actor, director, adjudicator, arts educator “Another divine world-premiere tops Stratford’s exceptional season of new works and remarkable adaptations.” Stratford has had a memorable season of world premieres of original Canadian plays as well as fresh adaptations of literary classics. Some productions make bold statements, while others invite more reserved introspections on their respective themes, but they ALL speak to us about relationships and the human condition in some of the most thought-provoking and meaningful ways. The last of these productions to open is the world premiere of “The Diviners” adapted for the stage by Vern Thiessen and Yvette Nolan from iconic author Margaret Laurence’s classic autobiographical 1974 Canadian novel. Through creative and minimalist staging, co-directors Krista Jackson and Geneviève Pelletier use the metaphor of the coursing river to track the past, present and future of protagonist Morag Gunn as she struggles to finish her latest novel. Set in a cabin in 1972 small-town Ontario, Morag (Irene Poole) combats her writer’s block with large bottles of one hundred proof. After a fight with her adult daughter, Pique (Julie Lumsden), who flees in a fit of rage, neighbour Royland (Anthony Santiago) arrives and attempts to soothe her nerves with a fish he caught from the river. His act of giving is just the catalyst Morag needs to start writing as she’s set adrift in a flood of memories – of her traumatic childhood, her formative years being raised by foster father, Christie (Jonathan Goad), her years at university, her first boyfriend, her failed marriage to Professor Brooke Skelton (Dan Chameroy). Morag has an indomitable but ultimately unhappy spirit. She later conceives Pique with ex-boyfriend Jules and continues her life as a single mother. Indigenous narratives are brought beautifully to the fore in this tale of one person’s journey to reconcile her past, present and future. There’s an almost spiritual overtone to Morag’s efforts to reclaim who and what she is. Her struggles are myriad – as a woman in a man’s world of the seventies, a mother without a husband, a woman facing head-on her Métis heritage. It isn’t often you see a non-musical with a cast of 22 and a choreographer on the artistic team. Is this a play or a musical? Well, it’s definitely a play but the traditional Indigenous music and dance keep us framed in its message of national reconciliation. Even more striking about this production is the bare stage, which serves as the canvas for the colours of Morag’s life to be revealed. There’s virtually no set, save for a split four-tiered bleacher affair at one end of the thrust stage and a small square table that pops up and down from the floor at the other. I’m still wondering about the significance of the junk yard suspended high above the stage like some kind of modern art installation. Detritus of all kinds weaves its way like a meandering river. Perhaps an homage to Morag’s adopted father Christie, a garbage man and the symbol of consistency in her complicated life? As Jackson and Pelletier say in their program notes, “At the heart of the narrative lies the river, a metaphor symbolizing the moving course of life.” Jackson and Pelletier provide only sketches of where and what time we are; it’s our imaginations that fill in the gaps, the way they would when reading a favourite novel. Their ability to move us backward and forward in Morag’s timeline with mere blocking, a few lighting changes and the talents of their remarkable cast are simplhy extraordinary. These two are character-driven directors who do full justice to Laurence’s detailed descriptions of Morag’s feelings of love and remorse, although I did find the gratuitous on-stage sex scenes between Morag and Jules does little to enhance our understanding of their love. The show moves quickly, and the cast more than rises to the occasion. The excellent ensemble acts like a Greek chorus—chanting, dancing, playing violin, guitar, and bagpipes as we travel back and forth through Morag’s life. Several play smaller roles, but all are fully engaged and invested in the narrative. Leading this exceptional cast is the luminous Irene Poole as Morag Gunn. Hers is a tour-de-force performance, captivating and authentic as the complex protagonist. She’s onstage almost the entire show, virtually every scene. Her physicality is exceptional as she seamlessly switches between child, teen and adult as the colours of her life unfold. A performance not to be missed! Julie Lumsden does triple duty as Morag’s daughter Pique, Young Pique and Scots Morag. Incredible versatility and honesty in each role. Her chemistry with Poole is heartwarming and thoroughly convincing. As Christie, Morag’s hard-working foster father with a heart of gold, Jonathan Goad is solid and unrecognizably crusty. With a thick Scottish accent (at times difficult to understand when he lets his volume drop), he channels Robert Shaw’s Quint character from the movie Jaws. As Jules, Morag’s former Métis boyfriend and father to Pique, Jesse Gervais strums guitar and sings Métis folk songs with conviction. He also has a fine comedic sense. Sadly, his chemistry with Poole doesn’t quite hit the heights the script calls for. Josue Laboucane and Caleigh Crow deliver fine performances as Jules’s father, Lazarus, and sister, Piquette, respectively. Cameron Carver creates intensity with his inspired choreography. He enhances the narrative by focusing the movement to reflect the emotion and intention of each scene. His dance is integral, particularly the follow up and in-sync movements in the incredible sequence with the pages of Morag’s novel spewing from her typewriter. Visually stunning! As mentioned, Bretta Gerecke's lighting and set design are stark overall. Warm amber lighting separates Morag’s present from her shadow-filled past and future. We always know where we are in time and space. The bleachers are nicely utilized as a front porch, school classroom, and university lecture hall, while the single pop-up desk always brings us home to Morag’s cottage in the present. So much is achieved with so little!! Jeff Chief’s 70s costumes are spot on. My partner commented that she had a denim skirt just like the one Morag wears in Act 2. Traditional Indigenous regalia is also featured in flashbacks and dream sequences. Andrina Turenne’s moving original music fuses contemporary, ethereal and Indigenous beats with spoken word to startling effect. At its heart, “The Diviners” is about a mother reconnecting with her daughter and wondering how to write her own happy ending with the people she cares about. Weaved throughout is the history of the Métis and Indigenous peoples in Manitoba. But it’s Laurence’s original overarching themes of reconciliation between cultures that make this play so important, so relevant, for today’s audiences! Running time: Approx. 2 hours, 25 minutes with one intermission/interval. The production runs until October 2 at the Tom Patterson Theatre, Stratford For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “The Diviners” based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Directed by Krista Jackson with Geneviève Pelletier Choreographer – Cameron Carver Set and Lighting Designer – Bretta Gerecke Costume Designer – Jeff Chief Composer – Andrina Turenne Sound Designer – MJ Dandeneau Performers: Irene Poole, Christopher Allen, Gabriel Antonacci, Dan Chameroy, Caleigh Crow, Allison Edwards-Crewe, Jesse Gervais, Jonathan Goad, Josue Laboucane, Julie Lumsden, Anthony Santiago, Tyrone Savage, Sara Topham and other Canadian artists in the ensemble. Previous Next Dance Dance and Acrobatics 'The Diviners' based on the novel by Margaret Laurence with text by Vern Thiessen with Yvette Nolan Click Here 'Message In A Bottle' Choreographed and Directed by Kate Prince. Based on the Songs of Sting Click Here "Näss", choreographed by Fouad Boussouf Click Here Ballet Edmonton’s “e-motion” tour presented by DanceWorks Click Here 'Liminal' by Throwdown Collective Click Here Canadian Stage presents MIIGIS: UNDERWATER PANTHER Click Here 'The Tragedy of Hamlet, Prince of Denmark' World Premiere, directed by Robert Lepage and choreographed by Guillaume Côté. Click Here 'Deciphers' co-presented by Harbourfront Centre and DanceWorks Click Here Fall for Dance North – UNBOWED: 2023 Signature Program 2 – Click Here 'Les corps avales' (Swallowed Bodies) Click Here Alvin Ailey American Dance Theatre Click Here The Nutcracker Click Here Unique Pieces Unique Pieces '12 DINNERS' by Steve Ross WORLD PREMIERE Click Here 'Constellations' by Nick Payne Click Here 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Click Here 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death Click Here 'Onion Skins & Peach Fuzz: The Farmerettes' by Alison Lawrence. Based on the book by Shirleyan English and Bonnie Sitter Click Here 'Romeo & Juliet' by William Shakespeare Click Here 'A Public Reading Of An Unproduced Screenplay About the Death of Walt Disney' by Lucas Hnath Click Here 'De Profundis: Oscar Wilde in Jail' The World Premiere Click Here 'Goblin: Macbeth' Created by Rebecca Northan and Bruce Horak Click Here 'Jack: A Beanstalk Panto' (The Naughty Version) Written and Directed by Rebecca Northan Click Here 'Peter Pan and the Wendy Lady' adapted by Brandon White Click Here 'Romeo and Juliet' by William Shakespeare. Presented by The Stratford Festival Click Here Unique Pieces Article 'Salesman in China' by by Leanna Brodie and Jovanni Sy – WORLD PREMIERE Back 'Salesman in China' by by Leanna Brodie and Jovanni Sy – WORLD PREMIERE The production runs until September October 26 at the Avon Theatre, 99 Downie St., Stratford, Credit: David Hou. Pictured L-R: Adrian Pang and Tom McCamus Geoffrey Coulter, actor, director, adjudicator, arts educator. VOICE CHOICE “Stratford’s gamble with this Salesman scores big time! A magnificent, ground-breaking world premiere recounting inter-cultural human connection equates to a rare, near-perfect piece of theatre. You’ll want to experience it more than once.” My job as a theatre reviewer is to objectively assess and analyze all aspects of a production, including the direction, acting, set design, costuming, wigs, lighting, and sound design. I also reflect on choices made, what works for me and what I think might improve the audience’s theatre-going experience. I’m thrilled to report that the world premiere of “Salesman in China” at Stratford’s Avon Theatre is one of those rare theatrical experiences that took me completely off guard with its thrilling and engaging story, superb performances, compelling stagecraft, and passionate direction. I can’t remember attending a more perfect production! This is the apex of live theatre: an engaging and thought-provoking story of empathy, compassion, and humour and how the process of theatre-making can bridge the cultural divide and bring nations together. Next, production and performance elements that seamlessly compliment each another. Finally, an audience sitting in rapt silence for two hours, not just watching a play, but experiencing an event! Such is Leanna Brodie and Jovanni Sy’s, “Salesman in China”, their ambitious and daring adaptation of playwright Arthur Miller’s memoirs of his 1983 trip to Beijing to direct his play, “Death of a Salesman” at the Beijing People’s Art Theatre. This is a fascinating recounting of Miller’s paradoxes of directing a tragedy about American capitalism in a communist country. This historic collaboration symbolized the beginning of a new era of American-Chinese diplomatic relations shortly after China’s emergence from the decade-long chaos of the Cultural Revolution. China at this time was a land shut off from the far-reaching influences of the West. The story focuses on prominent American Miller and the equally prominent Chinese actor, director and translator, Ying Ruocheng, who will play Willy Loman in the play. The eyes of the world are fixed on the production, which signals a thawing of the two nations’ icy relations. Ying quickly discovers the many cultural bridges that surpass the language barrier. The Chinese are oblivious to the cultural underpinnings of Miller’s work. They don’t know about travelling salesmen, insurance policies or personal automobiles. How will he and Miller collaborate to bring the notion of the “American Dream” to audiences in communist China? How will Ying please the watchful eyes of the various government officials and attachés along with the artistic director of the People’s Art Theatre? The cultural divide between Miller, Ying and their collaborators is fundamental to the show’s premise. Not only did they need to reconcile vastly different languages, but they had to find a middle ground on its central themes of fatherhood, familial legacy, and worth. Something that resonates very differently in both cultures. This is where Brodie and Sy thoughtfully challenge audiences to reflect on present-day international affairs, societies, events and relationships. Director Sy and his entire company have achieved a first for Stratford – This production shifts seamlessly between Mandarin and English and is performed by an almost entirely Asian cast. Subtitles cleverly span the breadth of the elevated stage with English titles when Mandarin is spoken and vice versa. Sy’s passion for this monumental production is tenable from the first scene in the rehearsal hall of the People’s Art Theatre. Particularly moving was the collective breath taken by the actors before they started the first rehearsal. I instantly felt connection; connection of the cast to the material, the audience to the cast, all of us to each other. Goosebumps! Sy’s inspired staging and use of cinematic techniques for flashbacks and dream sequences is masterful, particularly in Ying’s garden home and while rehearsing his monumental scene. There isn’t a single line delivery, piece of staging or scene change that isn’t carefully considered. Speaking of scene changes, they are among the most beautifully choreographed I’ve ever seen. Cast members bring on and take off furniture and props with an almost balletic grace. Nothing in this show is random. Hats off to the leadership and vision of this fine artist. Stratford favourite Tom McCamus leads the top-notch cast as Miller. His performance as the great playwright is multi-layered and complex. His Miller is charming one moment, capricious the next. He embodies the intelligence, arrogance, and fierce commitment to his art, which was well known to those in Miller’s inner circle. Also well-known is that Miller may have been autistic and was known to “never keep still.” Kudos to McCamus for his attention to this subtle physicality. But the show really belongs to Adrian Pang in his Stratford debut as Ying Ruocheng. This man’s charged performance is a masterclass in fine acting! It’s hard to ascribe an adjective that adequately defines his work in this starring role, but I’ll start with genius! Ying is a charming, funny collaborator for Miller. He is affable at first but has a tormented past and personal demons that threaten to derail his art and relationships. Ying is so good, his characterization so compelling, and his monologues so breathtakingly poignant that you can’t take your eyes off him. His performance alone is worth the ticket price. The chemistry he shares with McCamus is both heartwarming and heartbreaking. Joyous! As Miller’s wife Inge, Sarah Orenstein portrays a loyal and supportive partner (she even learned to speak some Chinese) with unswerving faith in him and his production. Her scene with McCamus at the top of Act 2 is delightfully tender. In stark contrast is Jo Chim’s portrayal of Ying’s wife, Wu Shiliang. Unlike Inge, she’s skeptical and questions Ying’s involvement with Miller and the play. She’s protective of Ying and fears for his career should the play fail. Chim and Orenstein are excellent in their strained portrayal of wives in turmoil. The balance of the wonderfully talented cast plays multiple parts, all invested in their roles and thoroughly engaging. It’s not only the actors that are epic! Stagecraft is off the charts! Joanna Yu’s stark set design with perfectly synced English and Mandarin subtitles is innovative and functional. However, there’s a second screen at the top of the stage that is used briefly to indicate location and time. This one is easy to miss as it’s set too far away from the main subtitles and is easy to miss. I would have liked all the subtitles in one place. Chairs, tables, desks, mirrors and other small props are brought on and off by actors with military precision. Special note to the illusory staging of Ying and Miller watching their play’s final scene from “backstage”. Abstract projections on the back walls, courtesy of co-designers Caroline McCaull and Sammy Chien (Chimerick), are effectively and often frighteningly used for flashbacks (especially Ying’s imprisonment and panic attack during rehearsal). Sophie Tang’s lighting design is muted overall. It provides lots of shadow and minimal colour, nicely evoking the harshness of the totalitarian state. Harsh shafts of white light keep key scenes cold and ethereal. Alessandro Juliani’s original compositions of traditional Chinese folk music, coupled with ambient drones and supplemental background effects, gracefully, sometimes horrifically, enhance but never overpower. “Salesman in China” is the season’s most exhilarating and conversation-inducing work. Its themes of family, values, familial relationships, cooperation, and collectively bridging the cultural divide conjure laughter and tears. This gem is inspired, full of heart, and not to be missed. The bad news? It has a painfully short eight-week run. The good news? It’ll move to Ottawa’s National Arts Centre in January 2025, so don’t let this masterpiece slip away! Running time: Approx. 2 hours, 25 minutes with one intermission The production runs until September October 26 at the Avon Theatre, 99 Downie St., Stratford, For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Directed by Jovanni Sy Set designer – Joanna Yu Lighting designer – Sophie Tang Composer and Sound Designer – Alessandro Juliani Co-Projection Designers – Caroline McCaull and Sammy Chien (Chimerick) Fight and Intimacy Director – Anita Nittoly Movement Director – Harriet Chung Performers: Tom McCamus, Adrian Pang, Jo Chim, Phoebe Hu, Derek Kwan, Sarah Orenstein, Agnes Tong and other Canadian artists in the ensemble. Previous Next “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Back “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Now on stage until October 26 at the Avon Theatre, 99 Downie Street, Stratford. Credit: David Hou Pictured L-R: Adrian Pang and Tom McCamus Geoffrey Coulter, actor, director, adjudicator, arts educator VOICE CHOICE “Stratford’s gamble with this Salesman scores big time! A magnificent, ground-breaking world premiere recounting inter-cultural human connection equates to a rare, near-perfect piece of theatre. You’ll want to experience it more than once.” My job as a theatre reviewer is to objectively assess and analyze all aspects of a production, including the direction, acting, set design, costuming, wigs, lighting, and sound design. I also reflect on choices made, what works for me and what I think might improve the audience’s theatre-going experience. I’m thrilled to report that the world premiere of “Salesman in China” at Stratford’s Avon Theatre is one of those rare theatrical experiences that took me completely off guard with its thrilling and engaging story, superb performances, compelling stagecraft, and passionate direction. I can’t remember attending a more perfect production! This is the apex of live theatre: an engaging and thought-provoking story of empathy, compassion, and humour and how the process of theatre-making can bridge the cultural divide and bring nations together. Next, production and performance elements that seamlessly compliment each another. Finally, an audience sitting in rapt silence for two hours, not just watching a play, but experiencing an event! Such is Leanna Brodie and Jovanni Sy’s, “Salesman in China”, their ambitious and daring adaptation of playwright Arthur Miller’s memoirs of his 1983 trip to Beijing to direct his play, “Death of a Salesman” at the Beijing People’s Art Theatre. This is a fascinating recounting of Miller’s paradoxes of directing a tragedy about American capitalism in a communist country. This historic collaboration symbolized the beginning of a new era of American-Chinese diplomatic relations shortly after China’s emergence from the decade-long chaos of the Cultural Revolution. China at this time was a land shut off from the far-reaching influences of the West. The story focuses on prominent American Miller and the equally prominent Chinese actor, director and translator, Ying Ruocheng, who will play Willy Loman in the play. The eyes of the world are fixed on the production, which signals a thawing of the two nations’ icy relations. Ying quickly discovers the many cultural bridges that surpass the language barrier. The Chinese are oblivious to the cultural underpinnings of Miller’s work. They don’t know about travelling salesmen, insurance policies or personal automobiles. How will he and Miller collaborate to bring the notion of the “American Dream” to audiences in communist China? How will Ying please the watchful eyes of the various government officials and attachés along with the artistic director of the People’s Art Theatre? The cultural divide between Miller, Ying and their collaborators is fundamental to the show’s premise. Not only did they need to reconcile vastly different languages, but they had to find a middle ground on its central themes of fatherhood, familial legacy, and worth. Something that resonates very differently in both cultures. This is where Brodie and Sy thoughtfully challenge audiences to reflect on present-day international affairs, societies, events and relationships. Director Sy and his entire company have achieved a first for Stratford – This production shifts seamlessly between Mandarin and English and is performed by an almost entirely Asian cast. Subtitles cleverly span the breadth of the elevated stage with English titles when Mandarin is spoken and vice versa. Sy’s passion for this monumental production is tenable from the first scene in the rehearsal hall of the People’s Art Theatre. Particularly moving was the collective breath taken by the actors before they started the first rehearsal. I instantly felt connection; connection of the cast to the material, the audience to the cast, all of us to each other. Goosebumps! Sy’s inspired staging and use of cinematic techniques for flashbacks and dream sequences is masterful, particularly in Ying’s garden home and while rehearsing his monumental scene. There isn’t a single line delivery, piece of staging or scene change that isn’t carefully considered. Speaking of scene changes, they are among the most beautifully choreographed I’ve ever seen. Cast members bring on and take off furniture and props with an almost balletic grace. Nothing in this show is random. Hats off to the leadership and vision of this fine artist. Stratford favourite Tom McCamus leads the top-notch cast as Miller. His performance as the great playwright is multi-layered and complex. His Miller is charming one moment, capricious the next. He embodies the intelligence, arrogance, and fierce commitment to his art, which was well known to those in Miller’s inner circle. Also well-known is that Miller may have been autistic and was known to “never keep still.” Kudos to McCamus for his attention to this subtle physicality. But the show really belongs to Adrian Pang in his Stratford debut as Ying Ruocheng. This man’s charged performance is a masterclass in fine acting! It’s hard to ascribe an adjective that adequately defines his work in this starring role, but I’ll start with genius! Ying is a charming, funny collaborator for Miller. He is affable at first but has a tormented past and personal demons that threaten to derail his art and relationships. Ying is so good, his characterization so compelling, and his monologues so breathtakingly poignant that you can’t take your eyes off him. His performance alone is worth the ticket price. The chemistry he shares with McCamus is both heartwarming and heartbreaking. Joyous! As Miller’s wife Inge, Sarah Orenstein portrays a loyal and supportive partner (she even learned to speak some Chinese) with unswerving faith in him and his production. Her scene with McCamus at the top of Act 2 is delightfully tender. In stark contrast is Jo Chim’s portrayal of Ying’s wife, Wu Shiliang. Unlike Inge, she’s skeptical and questions Ying’s involvement with Miller and the play. She’s protective of Ying and fears for his career should the play fail. Chim and Orenstein are excellent in their strained portrayal of wives in turmoil. The balance of the wonderfully talented cast plays multiple parts, all invested in their roles and thoroughly engaging. It’s not only the actors that are epic! Stagecraft is off the charts! Joanna Yu’s stark set design with perfectly synced English and Mandarin subtitles is innovative and functional. However, there’s a second screen at the top of the stage that is used briefly to indicate location and time. This one is easy to miss as it’s set too far away from the main subtitles and is easy to miss. I would have liked all the subtitles in one place. Chairs, tables, desks, mirrors and other small props are brought on and off by actors with military precision. Special note to the illusory staging of Ying and Miller watching their play’s final scene from “backstage”. Abstract projections on the back walls, courtesy of co-designers Caroline McCaull and Sammy Chien (Chimerick), are effectively and often frighteningly used for flashbacks (especially Ying’s imprisonment and panic attack during rehearsal). Sophie Tang’s lighting design is muted overall. It provides lots of shadow and minimal colour, nicely evoking the harshness of the totalitarian state. Harsh shafts of white light keep key scenes cold and ethereal. Alessandro Juliani’s original compositions of traditional Chinese folk music, coupled with ambient drones and supplemental background effects, gracefully, sometimes horrifically, enhance but never overpower. “Salesman in China” is the season’s most exhilarating and conversation-inducing work. Its themes of family, values, familial relationships, cooperation, and collectively bridging the cultural divide conjure laughter and tears. This gem is inspired, full of heart, and not to be missed. The bad news? It has a painfully short eight-week run. The good news? It’ll move to Ottawa’s National Arts Centre in January 2025, so don’t let this masterpiece slip away! Running time: Approx. 2 hours, 25 minutes with one intermission The production runs until September October 26 at the Avon Theatre, 99 Downie St., Stratford, For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “Salesman in China” by Leanna Brodie and Jovanni Sy WORLD PREMIERE Directed by Jovanni Sy Set designer – Joanna Yu Lighting designer – Sophie Tang Composer and Sound Designer – Alessandro Juliani Co-Projection Designers – Caroline McCaull and Sammy Chien (Chimerick) Fight and Intimacy Director – Anita Nittoly Movement Director – Harriet Chung Performers: Tom McCamus, Adrian Pang, Jo Chim, Phoebe Hu, Derek Kwan, Sarah Orenstein, Agnes Tong and other Canadian artists in the ensemble. Previous Next Profiles Rod Carley Back Rod Carley Theatre Conversation in a Covid World Ed Regan Joe Szekeres I’ve known of Rod Carley’s work for over twenty-five years. In February 1987, I had seen his performance as Algernon in Whitby Courthouse Theatre’s production of ‘The Importance of Being Earnest’. Whitby had also obtained a grant to hire Rod as the director of their Youth Group production ‘The Lion, The Witch and the Wardrobe’. The Oshawa Little Theatre had also hired Rod to direct its production of a good production of ‘Dancing at Lughnasa’. Rod is an award-winning director, playwright and actor from North Bay, Ontario, having directed and produced over 100 theatrical productions to date including fifteen adaptations of Shakespeare. Rod is the Artistic Director of the Acting for Stage and Screen Program for Canadore College and a part-time English professor with Nipissing University. He was the 2009 winner of TVO’s Big Ideas/Best Lecturer competition. His first novel, A Matter of Will, was a finalist for the 2018 Northern Lit Awards for Fiction. His short story, ‘A Farewell to Stream’ was featured in the non-fiction anthology, 150 Years Up North and More. I’ve just finished his second novel Kinmount and will post a review at the conclusion of Rod’s profile. Thanks to Nora McLellan who encouraged me to read Rod’s book and to Rod for writing it and for taking a few moments to chat with me about the state of the arts going forward from a Covid to a post Covid world: 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? Health wise, I’m okay. I had to cancel two directing projects and an acting project as well as my fall reading tour for my new novel KINMOUNT. My immediate family is in good health. Fortunately, I’m based in North Bay, ON. This region has a small number of active cases. Teaching, Netflix, (not to be confused with teaching Netflix), family, the arts, books, the cats, Zoom chats with friends, doom scrolling, my writing, and connecting with the theatre and writing community on social media have been helping me get through COVID. Together although alone. When one of us is having a hard day, the rest jump in with words of encouragement and hope. “No one gets left behind,” is our unofficial motto. After ten months in, everyone is weary from daily COVID battle fatigue and uncertainty of the future. Each day feels like trying to herd a different cat. How have you been spending your time since the theatre industry has been locked up tight as a drum? As well as an author and free-lance director, I am the Artistic Director for the Acting for Stage and Screen Program at Canadore College - a training program I created in 2004 due to the lack of actor training north of Toronto. Because of the small number of COVID cases in this region, we have been able to keep 70% of our acting classes in the classroom, practising physical distancing and wearing masks. We are one of the few actor-training programs in the province that hasn’t had to switch entirely to on-line delivery. I’ve been doing a lot of writing. My new novel KINMOUNT was published this past October. Launching a new book smack dab in the middle of a pandemic is not for the faint of literary heart. Using the new COVID lingo, I “pivoted” and did a virtual launch (one positive was the number of friends who were able to attend from across the country and internationally). My publisher and I have relied heavily on social media to market the book. I’m also in the final editing stage of a new collection of interconnected short stories entitled Grin Reaping. I’ve done quite a few Zoom readings at online literary events. Last April, I retaught myself to play the accordion and posted regularly on social media to put a little light and humour into people’s days…or drive them further over the edge. The family tabby cat, Hilton, amuses me to no end. Our other older cat, Zoe, passed away in September. Last summer, I created a series of social media posts featuring Hilton and Zoe called “Respect for Mewing,” a purrfect parody on Uta Hagen’s “Respect for Acting.” Their antics might even lead to a book. I’ve also watched some very resourceful theatre companies move their programming online. Tarragon Theatre’s staged reading of David Young’s Inexpressible Island at the start of the pandemic was particularly well done – the six actors speaking out of the darkness in their respective spaces captured the isolation of the piece. I’m looking forward to watching Rick Roberts’ online mythic adventure Orestes, directed by Richard Rose, this coming February. Still, nothing can replace live theatre. There is a sanctity to what we do as theatre artists. People gather together to experience things that can’t otherwise be experienced – not unlike what happens in a church or synagogue. There’s an elevation, a nobility, and a feeling of sanctuary. Arthur Miller said, “My feeling is that people in a group, en masse, watching something, react differently, and perhaps more profoundly than they do in their living rooms.” 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? COVID is a restriction rather than an escape. In the theatre, flight-within-restriction is the director’s goal. A director has to know all the resources and limitations they are working with. Only then can they know in which direction freedom lies. Ironically, for me, it’s become a working metaphor for coping during COVID. 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? Dr. Fauci was recently quoted in The New York Times as saying he believed that theatres could be safe to open some time in the fall of 2021 – as long as 70% to 85% of Americans were vaccinated by then. Will those percentages apply to Canadian theatres? The quality of a theatre’s ventilation system and the use of proper air filters will play a vital role. Theatregoers may need to continue wearing masks. Strict hygiene protocols will need to be in place. Reduced capacity of seating has been another roadblock in the financial viability of reopening. Fauci believes theatres will start getting back to almost full capacity of seating. Another possibility is to ask audience members to show proof of a negative virus test –as required by some airlines. I am currently directing an online college production of David Ives’ All in the Timing, scheduled to go up in April 2021. I hope my colleagues and I will be able to direct live productions by the spring of 2022. Even with the vaccine, however, we will have to see if audiences feel comfortable returning to the theatre. Post-COVID, it may take awhile until they feel fully safe. 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? A quote from my new novel KINMOUNT: “For nearly four thousand years, theatre had survived religious persecution, war, plague, the rise of television, AIDS, CATS, funding cuts, and electronic media.” (KINMOUNT – Part Two: Madness, Chapter 8, p. 173) But can the theatre survive COVID? My response is, “Yes.” We've probably all heard somebody say that come the End of the World, the only survivors will be the cockroaches. Cockroaches have been around for over 300 million years - so they've outlasted the dinosaurs by about 150 million years…and they are tough little creatures. They can survive on cellulose and, in a pinch, each other, and they can even soldier on without a head for a week or two - and they're fiendishly fast as well as many of us have discovered opening an apartment door and turning on a light. They have the reputation for being survivors - living through anything from steaming hot water to nuclear holocaust….and, when they do survive Armageddon, they will probably be performing theatre! There is something of the scrappy cockroach in every actor. Theatre has survived a variety of “end of the world” scenarios since its earliest beginnings. From the stone ages, men and women have been telling stories by enacting them even when no language existed. Ancient Greek theatre still inspires us, and it continues to be staged in all the languages of the world. In Ancient Greece, we had an empire ensconced in domestic barbarism and military adventurism. Yet, it was the theatre that reformulated the debates of that era with humanity and intelligence and put those qualities back in the air we still breathe more than 2,000 years later – and theatre will do that again post-COVID. Starting in the Dark Ages, actors were forbidden the sacraments of the church unless they foreswore their profession, a decree not rescinded in many places until the 18th century. Can you imagine the great French playwright Moliere collapsing on stage to his death and being denied the last rights? King Louis the 14th had to intervene to grant Moliere a Christian burial. Actors were treated as heretics for nearly 1,300 years! They know about tenacity and survival. During the 1950’s the world lived under the threat of an atomic war capable of ending life on earth. It was an age of anxiety and stress. The theatre was heavily influenced by the horrors of World War II and the threats of impending disaster. Serious questions were raised about man’s capacity to act responsibly or even to survive. Anxiety and guilt became major themes. Probably more than any other writer, Samuel Beckett expressed the postwar doubts about man’s capacity to understand and control his world. Now, “the end of the world” really was around the corner but it didn’t stop theatre. The cockroach artists kept holding that cracked and broken mirror up to man’s doubtful nature. We may see post-COVID theatre addressing similar issues – the fall of the American Empire, climate change, reconciliation, and so many other pressing societal ills – coupled with a need for humour and escape. I think there might there be a backlash coming against digital technology. The human soul is screaming for meaning. How much spiritual hunger and alienation can we bear? Theatre is genuine communication and not short form twitters and tweets. An audience is alive in the same space where the actors testify the truth of their characters. Any place where you are in that kind of public forum, breathing the same air, the truth will come out. 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? We live in a dangerous era now where the arts are being seriously questioned. In an uncertain economy, the arts are often among the first things to be eliminated from discretionary spending. The fall of the American Empire is rife with danger. The rise of right-wing fascism is beyond scary. In many articles, the pandemic has been compared to Shakespeare and the plague. In this excerpt from my novel, KINMOUNT, down-and-out-director Dave Middleton talks to his acting company at the First Reading of his production of Romeo and Juliet: “Romeo and Juliet was the first play to be produced in London after the infamous Black Death of 1592 to 1594 wiped out close to a third of the population,” Dave explained. “All the theatres were shut down for three years. Images and references to the plague permeate the play such that the plague itself becomes a character—much the way Caesar’s ghost haunts and dominates Julius Caesar. The plague struck and killed people with terrible speed. Usually by the fourth day you were dead. The time frame of Romeo and Juliet moves with a similar deadly speed, from the lovers’ first meeting to their deaths.” “I can’t imagine waking up on Saturday and being dead by Tuesday,” said Miranda. “The plague underscores all that happens, mirroring the fear and desperation of the characters’ individual worlds,” said Dave, adopting a sombre tone. “I’m pretty sure most of us have lost someone to cancer.” The company nodded uncomfortably. “We can only imagine the dreadful immediacy of Romeo and Juliet when it was first performed for an audience who had each lost family and friends to the plague. Here was a play referencing that very loss and terror.” Dave circled his troops; his director’s passion, despite himself, as infectious as the plague he was referencing. “What a gutsy and attention-getting backdrop for the love story that unfolds in the wake of Ebola, the opioid epidemic, Lyme disease, HIV, not to mention the scourge of cancer, we know what this fear is like.” Dave had hit a nerve. “By using the original setting and its plague components,” Dave explained, “our production will serve as an analogy for today. We will play the humour of the first three acts to its fullest until the “plague” of deaths begins. We will explore the passion and exuberance of youth, the need to live every day as if it was your last, because it very well could be. Your life expectancy is thirty.” “Whoa,” said the taller stoner. “Like I’m already middle-aged. That sucks, dude.” “It does,” said Dave. “You have no idea what will happen when you start your day. You could be killed in a duel, run over by horse-drawn cart, be accidentally hit on the head by a falling chamber pot, or drink water from an outdoor fountain, toxic with bacteria boiling in the summer heat, and catch the plague.” (KINMOUNT- Part One: Meeting, Chapter 7, pp. 48-49) Similar to the plague, COVID has reinforced the transience and fragility of our existence. We really do have to embrace the moment because the future is more uncertain than ever. Post-COVID, this reality will serve as a backdrop for much of the theatre that will be created, whether consciously or unconsciously. 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? As a theatre artist, I’ve always been sensitive to the world – it’s in my DNA. Theatre has a responsibility to society – to educate, enlighten, and, hopefully, change. Theatre has been doing that for centuries. The theatre has always been, at least for me, about rekindling the soul and discovering what makes each of us human – it is the touchstone to our humanity. It is the most immediate way in which a human being can share with another the sense of what it is to be a human being. It speaks to something within each of us that is fleeting and intangible. And we feel less alone. Given our present circumstances, we need this more than over. The power of stage is enormous because it is real. We all live in what is, but we find a thousand ways not to face it. Great theatre strengthens our faculty to face it. Theatre provides for the psychic well-being and sanity of a society. We will need it more than ever post-COVID. In Shakespeare’s day, great plays were thought of as mirrors. When you see a play, you are looking into a mirror – a pretty special mirror, one that reflects the world in a way that allows us to see its true nature. We also see that it not only reflects the world around us, but also ourselves. This two-way mirroring means that learning about great theatre and learning about life go hand in hand. And it means that finding beauty and meaning in great theatre is a sort of proving ground for finding beauty and meaning in life. 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 interest 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? The need to tell stories of what it is to be human remains crucial to me – stories about who we are, why we are, where we came from, and what we may become - with curiosity and hope. Stories that challenge the right-wing capitalist patriarchal hegemony. I will continue to revisit relevant older works with a fresh lens, making them accessible to today’s audience. I am committed to developing new works by Northern Ontario voices. For years, I have been working on an adaptation of Shakespeare’s Julius Caesar based on Pierre Elliot Trudeau, the FLQ and events surrounding the October Crisis of the 1970. In my interpretation, Caesar is, of course, based on Trudeau and, in the transported setting, he is assassinated in Ottawa by members of the FLQ as an act of revenge in the wake of his handling of “Black October.” The adaptation would involve both official languages and would employ colour conscious casting. It might never to see the light of day. I am also looking into creating podcasts for my new short story collection. I am in the early outlining stages of a new novel that will be a comic tale of writer’s block, the chopping block, ghosts, and ghostwriters. Rod Carley’s headshot by Ed Regan. Follow Rod on Twitter: @carley_rod and/or visit his website: www.rodcarley.ca . My review of Kinmount: KINMOUNT REMINDS US OF THE IMPORTANCE OF AND FOR THE ARTS NOW MORE THAN EVER While reading Rod Carley’s Kinmount, I couldn’t help but make a comparison of it to Miguel Cervantes’ Don Quixote for the literary term I remember from my second year undergraduate course at the University of Western Ontario - picaresque. I loved the sound of that word then and It still like the sound of it today. Just to review this term – A picaresque hero is a charming fellow who battles sometimes humorous or satiric moments and episodes that often depict in real life the daily life of the common person. Much like Don Quixote’s fight with windmills, Carley’s protagonist (Dave Middleton) is a professional theatre director who has been hired by oddly eccentric producer Lola White to direct a community theatre production of Shakespeare’s Romeo & Juliet in Kinmount, Ontario. Dave ends up battling with oddball characters, censorship issues, stifling summer weather and shortage of monetary funds in his quest to ensure the production is staged the way he believes Shakespeare had wanted it to be staged. I reluctantly admit I had no clue where the town was as I’ve no reason to attend so I had to look it up on a map. Okay, once I saw where it was located, I will also be honest and state I didn’t know if I even wanted to visit the town as Middleton describes it as “Canada’s capital of unwed mothers under the age of twenty…kids having kids. And the rest are grammatically challenged and wear spandex. And that’s just the men.” I do sincerely hope Middleton’s description of the real town is tongue in cheek. Thankfully Carley tells us at the end of his book that he “chose the name simply because of the comic noun and verb combination. For no other reason” as “The real-life Kinmount is a lovely spot nestled in the beautiful Ontario Highlands and home to a population of five hundred friendly highlanders and summer cottagers.” Since I am a theatre and Shakespearean lover of language Kinmount, for me, became a touchstone of the crucial importance the arts provide us especially now in this time of shutdown, lockdown, and a provincial stay at home order of the worldwide pandemic. If we have been involved in community theatre productions, Kinmount becomes a hilarious remembrance of those moments when we all stoically wondered if the show would ever come together given the ‘behind the scenes’ world of egos, divas and divos, and oddballs just to name a few. Carley’s style never becomes pedantic but instead a playful reminder of those who select to participate in theatre, whether professional or community, just why we keep returning to this dramatic format. It is for the love of the spoken word. Rod and I spoke briefly via FaceTime about the ending of Kinmount and how touched I was at the final actions of protagonist Dave Middleton. Given the veritable struggles Dave must endure throughout the story, sometimes comical, sometimes frightening, he reveals a compassionate, human side that we must all never forget that we too can be like Dave in stressful times. It’s worth a visit to Kinmount. Kinmount now available at Latitude 46 Publishing (www.latitude46publishing.com ), Indigo, Amazon and your favourite bookseller. I picked mine up at Blue Heron Books in Uxbridge, Ontario. Previous Next Profiles Raoul Bhaneja Back Raoul Bhaneja “Hard to know what lies ahead…but the best plan is what Hamlet himself says in Act 5: “the readiness is all.” ​ Joe Szekeres Here’s the link to my first conversation with Raoul Bhaneja: https://www.onstageblog.com/profiles/2020/10/22/moving-forward-a-conversation-with-raoul-bhaneja Raoul Bhaneja is one incredibly busy man at the moment. He’s currently in Los Angeles, where he has spent much of his time over the last twenty years, almost none of it doing theatre. He’s played in more Los Angeles bars, nightclubs, and recording studios than in theatres. Even though Bhaneja has had to step away from the theatre periodically, he states it will always be a vibrant, vital place to spend time both as an artist and an audience member. He has been lucky to have a few spiritual homes with the theatre in Toronto. He recognized Tarragon Theatre for new plays, particularly between 2003 and 2010, when he had the chance to work on several productions there. Bhaneja also credits Theatre Passe Muraille, where he used to live almost next door to the building. He also credits one of his mentors, Paul Thompson, who shaped part of what theatre would become. It was at Passe Muraille, Bhaneja’s upcoming Soulpepper ‘Hamlet (solo)’ production was workshopped and first premiered. What important lessons has he learned from the last four years as an artist and as a person, husband, father, sibling, and friend? Raoul has become ever more appreciative of an audience that takes the time to spend their money and leave the comforts (and, in some cases, safety) of home to share in a live experience. Raoul has always felt the relationship between performer and audience is a (semi) sacred one, and he has felt that even more these last four years. ‘Hamlet (solo)’ will run for only three performances this month at Soulpepper. Artistic Director Weyni Mengesha is striving to write a new chapter and reshape the company but is holding on to core elements that Raoul thinks will be put in good stead for a long time in Toronto. He believes Soulpepper deserves support from those who once stood by it and new donors and advocates who can appreciate the challenging mission Weyni has undertaken to bring Soulpepper into this decade renewed and reclaimed. After this informative conversation with Weyni, Raoul realized he wanted to help be a part of her vision at Soulpepper. The opportunity to present ‘Hamlet (solo)’ back in Toronto after over a decade felt like the right fit. The late Daniel Brooks asked Raoul to step into Soulpepper’s recent ‘The Seagull’. When he returned to perform, Bhaneja returned to the company for the first time in 23 years, and he was reminded of just how special of a place Soulpepper truly is. Given that feeling, he felt it was also the right time to bring ‘Hamlet (solo)’ to the Distillery District’s Young Centre. Solo shows have been part of the theatre culture for a while: Diane Flacks and Rick Miller come to mind. The Soulpepper website states that this Hamlet (with the collaboration of longtime show director Robert Ross Parker and original designer Deeter Schurig) is a two-hour bare-bones performance in which Bhaneja plays 17 parts using Shakespeare’s text. The decisions around the sparseness of this solo production were not arbitrary or due to budget constraints but rather very much on purpose. Raoul stated: “I have been very encouraged by a lot of the theatre I have seen in Toronto as of late, particularly in the acting which I think has become more visceral than it had been for most of my time watching theatre in the city. There was often solid, thoughtful acting onstage, but I find it has an emotional urgency now that both the actor and audience demand from the experience.” I recall Rick Miller’s MACHOMER: THE SIMPSONS DO MACBETH, in which he voiced the characters in telling the story. Raoul is a huge admirer of Miller’s talent and calls him a prolific producer and person of the theatre. According to Raoul: “Both productions share a certain audacity, one I think Eric Woolfe also engaged in earlier this season when he presented his solo ‘Macbeth’ at Red Sandcastle. You have to be a bit crazy to do this.” When Bhaneja was in New York a few months ago watching Eddie (Suzy) Izzard perform her solo Hamlet, Raoul said, “It’s wild to see how different that ‘Hamlet’ is from our production even though the essential impulse is the very nature of it, similar.” Raoul says Shakespeare is getting a bit of a bad rap at the moment for being so heavily used in education and so prolifically presented in the theatre when other voices have been ignored and underappreciated. Perhaps it might be our fault, not Shakespeare’s, how little writing from different cultures and parts of the world we have seen our stages, particularly in the ‘classical’ period. That speaks to our hyper-focus on Western drama and thought. Bhaneja offers a critical thought to consider: “Let’s expand our field of reference, not obsess about Shakespeare by turning him into some kind of Confederate statue that must be pulled down. Use him to inspire or transform or adapt stories and ideas NOW. That’s the whole point. What about ‘Hamlet’ still speaks to the audience today for Bhaneja? It is the concept of ‘isolation’. Isolation is something everyone collectively understands at the moment in a way that we perhaps have not for a long time. It’s an unfortunate experience in the last few years everyone has had to deal with and come to terms. When Raoul started working on this project, his friend and gifted filmmaker, Jeff Stephenson, followed him around with a camera and made a documentary, ‘Hamlet (solo),’ which he hopes to find a way to screen or include in the upcoming Soulpepper run. In that documentary, Raoul interviews many actors who had played Hamlet up to 2007. When he was in his twenties, Raoul remembered something the late John Neville (who was in his seventies) told him about ‘Hamlet.’ It’s a play about the disillusionment of youth. Back then, Bhaneja found Neville’s comments interesting but didn’t really get it. Now that Raoul approaches his fifties (you’re still a young man, ya know), he looks at the world today, his children and the world they will inherit from us, and now understands Neville’s point of view: “To me, that is the essence of any ‘classic’ work from any period – its longevity comes from the ability to continue to reflect and refract life back to the audience, like the mirror Hamlet speaks of in the play.” Bhaneja leaves it to the audience to come away with any specific messages. He can only present what he and the creative team have envisioned with their interpretation and leave the rest to the audience. What he hopes to achieve with this ‘Hamlet (solo)’ is a unique and provocative experience combined with the viewers’ imaginations within an intimate setting. The life of an actor and performance artist is always in constant flux and motion. What’s next for Raoul once the three-date performance run of ‘Hamlet (solo)’ concludes: With two of his cast members from Soulpepper’s production of ‘The Seagull’ Frank Cox-O’Connell and Hailey Gillis, they are developing a project that they hope one day to present to Soulpepper. They are also working on producing a solo show for Raoul’s wife, Birgitte Solem (Hope and Hell co-founder) who will act in the piece. Outside of that, Raoul continues the roulette wheel of film and television. He hopes to make another season of ‘The Trades’ for Crave TV. Bhaneja called it a crazy TV show that was so much fun, but the cast and crew have to receive formal word. It has been a difficult year in the on-camera world with multiple labour disruptions, tech company contractions and the introduction of A.I. ‘Hamlet (solo)’ runs May 23-25 in the Young Centre for the Performing Arts in Toronto’s Distillery District, 50 Tank House Lane. For tickets: https://www.soulpepper.ca/performances/hamletsolo Previous Next Profiles Eric Peterson Back Eric Peterson Looking Ahead Courtesy of Crow's Theatre Joe Szekeres An anticipated nervous excitement might be the best way to describe the ten minutes before I had the golden opportunity to be in the virtual presence of actor Eric Peterson, a highly respected artist from CBC’s ‘Street Legal’, CTV’s ‘Corner Gas’ and many stage productions throughout Canada. The butterflies in my stomach flew away as he genuinely put me at ease quickly through much laughter in the interview that I was annoyed when Zoom informed me I only had ten minutes left in the conversation. I still had many things to ask him about his career and his upcoming work in Chekhov’s ‘Uncle Vanya’ to be staged at Crow’s Theatre in September and directed by Artistic Director, Chris Abraham. I’m always interested in where artists have received their theatre training. Eric’s facetious response: “So, you start off with a totally embarrassing question… I’ve never been formally trained.” And when you are as good as Eric Peterson, who the hell cares whether he was? He had one year at the University of Saskatchewan in the drama class which he says got him hooked on “this terrible, terrible profession I’ve been involved in now for 55 years or something like that.” (and I’m in stitches of laughter this early in the interview) Eric also completed one year at UBC. One of the great things he says came from his year there were meeting so many people like John Gray, the late Brent Carver and Larry Lillo. Eric once again had me in laughter when he called all of them many years ago ‘emerging artists’ and now they are ‘submerging artists’ where he put himself at the top of the list. Peterson had lived in England for a while. He was stage manager for a time and an assistant stage carpenter. Peterson has learned about acting through participation in plays which is a good way as far as he is concerned because artists get to work with all kinds of different people. There were some years when he felt embarrassed because he had no formal training from places like NTS or the University of Alberta, or Britain. But those days are behind him right now as he considers how fortunate he has been in his career and says, ‘it’s a little late now to be concerned about the training.” Eric jokingly spoke about his Dorian Gray years (and they were terrific, by the way) on CBC’s ‘Street Legal’ where he looks back at it when he had so much hair and thinner. But I agree when he says why should we rail against the passage of time. I also wanted to get Eric’s personal and professional perspective on where he sees the trajectory of the live Canadian performing arts headed over the next five years on account of the continuing Covid presence and its new variants. Eric recognizes how the theatres are leaving it up to the individual choices of the audience members to wear a mask or not which seems to be working in helping to keep Covid at bay as much as possible. All this plus the vaccines and the booster shots are doing what they are supposed to be doing. From what Eric knows, there will be a couple of performances where masks are mandatory at Crow’s so those who wish to attend may do so and feel safe. This seems to be the reality we will all have to live with for now. Will Covid demolish live Canadian theatre? That will never occur and live theatre will never leave us because Eric believes [it] is too dear to our hearts. Peterson recounted back at Crow’s in June when he performed in George F. Walker’s ‘Orphans for the Czar’ and the heavy enthusiasm of the audience for just being out of the house and being able to attend live theatre once again. Eric compared this feeling to being at a reunion. He also shared he had just finished reading a book about Christopher Marlowe where the theatres in Britain were closed on account of the plague. In a sense, live theatre has dealt with pandemics and disease. It’s just part of the environment. We here in this country are just not used to doing it in this modern age where we think we’re a fraction away from immortality. I never got a chance to see his work in ‘Orphans for the Czar’ as it was covered by a colleague. In true facetious response again, Eric told me how marvellous he was in it (and my colleague most certainly agreed), but I did get to see his five-minute appearance near the end of an astounding ‘Detroit’ at Coal Mine Theatre. Eric loved his time in this production. He compared himself to ‘The Ghost of Suburbs Past’. ‘Detroit’ was a surreal experience for him because as he states: “I was kind of in another play where I came on in the last four minutes. I was a character nobody heard about and I began talking about people nobody heard about.” And now he’s in rehearsals of one of the great masterpieces of live theatre – Chekhov’s ‘Uncle Vanya.’ I asked him how rehearsals are going at this time: “They’re fantastic, fantastic, and interesting, very, very interesting. We have got a decent rehearsal time, so the stress and deadline of the opening aren’t as present which is always good in rehearsals because people don’t feel that kind of stress and are more open, easier going and more relaxed. The more relaxed you are, the more creative you are and there isn’t that fear of how am I going to get through this.” Eric then spoke glowingly of his cast and how superbly talented and gifted a leader Chris Abraham is as a director because he is so well prepared with a thoughtful mind and amazing energy. This is not meant in a formulaic manner, but Eric is appreciative of the creative atmosphere Chris engenders and encourages during rehearsals. It’s a wonderful scary challenge, but so enriching that Peterson feels he’s part and parcel of something important. Eric then joked how he hoped Chris doesn’t read this article so he doesn’t get a swelled head. (and again I’m in fits of laughter). As a theatre artist who is Artistic Director, Eric believes Chris’s programming is an absolute connection to the world in which we now live. In one way or another, any slated play is not going to be a museum piece but will be something audiences can relate to in a personal way or civic way. In other words, what we see on Crow’s stages are aspects of the world in which we all live in, that we read about in newspapers. Eric and I then shared a good laugh because there are no such things as newspapers anymore so it’s what the young people see on their damned instruments. What has also made Eric excited about rehearsals and eventual performances of ‘Uncle Vanya’? No matter how long ago they were written, classic works like ‘Uncle Vanya’ still encapsulate absolute accuracy about the human condition in one way or another. These plays speak as loudly now to audiences as they did to contemporary audiences when they were first written. It is up to the production and the company involved to exemplify what was intended. Eric told me the company had completed its first ‘run through’ (or as actors call it a ‘stumble through’), and for him, it’s both a terrifying and awesome experience. Eric’s theory as to why ‘Uncle Vanya’ still speaks to twenty-first-century audiences? The two and a half years we’ve experienced the absence of theatre because of the pandemic have left us contemplating ourselves and how we are doing and whether should we be doing anything differently. Each of the characters in ‘Uncle Vanya’ is doing exactly that. Each asks: “Who am I?”, “I don’t like what’s going on, and I must change”, “I can change, and I should change.” For Peterson, questions like these may and do sound serious on the one hand but these questions are also incredibly comic. It’s a kind of entertainment that isn’t about escaping the human condition. It’s a kind of entertainment that looks at the human condition where an audience member can say, “Yes, I can see me in that, or I can see other people in that.” And along with these questions and discoveries, it’s also the ‘What the hell is going on here?’ So, for Eric, ‘Uncle Vanya’ is funny, it’s sad; there’s violence in that with gunplay, unrequited love stories, all of this kind of human activity that we all know so well. With a play like ‘Uncle Vanya’, we witness it, and we can imaginatively participate in the lives of the characters on stage and do what theatre does. Eric believes audiences must come out to see ‘Uncle Vanya’ because he guarantees they will be transformed by it. Audiences will arrive at the theatre in one frame of mind wondering how we are, and we will come out the other end highly entertained, delighted and possibly changed in attitude about who we are. To conclude our conversation, I asked Eric what keeps him motivated in this industry with his 50-plus years of experience: “Acting. We all question why we do it, and for me, I like to get up and show off in front of other people. I begin to wither unless I can grab the centre of attention. (and once again I’m in fits of laughter) I know that’s not a very honourable kind of motivation. Silence is my own sense of self-criticism and acting allows me to be someone else.” Eric continued and I could sense his honest commentary: “The economic and security rewards of the life of the artist can be problematic, but there is something incredibly valuable about people who enjoy together trying to make something interesting and beautiful and funny and entertaining, rather than making war on other people or doing this or that. Artists bravely pretend. The arts serve a deep pleasure in humans regardless of how society may look at them. There have always been artists treasured by culture and society. That’s what joins us together through our imaginations in large groups, small groups, and individuals. We do need people to help us stop life in the flow of life so that we can look at the life and then it can flow on again.” Eric Peterson will appear in Chekhov’s ‘Uncle Vanya’ in a new adaptation by Liisa Repo-Martell and directed by Crow’s Artistic Director, Chris Abraham. The production runs from September 6 to October 2 in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue. For tickets and other information about the production or the new season, visit crowstheatre.com. To purchase tickets, please call (647) 341-7390 ex. 1010 or by email: boxoffice@crowstheatre.com . Previous Next Profiles Randy Graff Back Randy Graff Moving Forward Michael Kushner Joe Szekeres The other day I was perusing some online pages about original Broadway companies and I saw the cast list for the first New York production of ‘Les Miserables’. I remember on my first trip to NYC that I tried to get tickets for the production and was told by the box office ‘What planet did I live on as I was to return in five years?’ I laugh about that now as that was the same response the Toronto box office used to give for the original Canadian company of ‘Les Miserables’ as well. As I reviewed the New York cast list online, it was great fun to see Colm Wilkinson’s name (who later played the Phantom in the original Toronto production) and then I came across Randy Graff’s name. She had originated the role of Fantine. It suddenly dawned on me that I remember hearing Randy sing the titular ‘I Dreamed a Dream’ on the original Broadway LP album. I thought, well, why not try to get in touch with Randy through her webpage to see if she would be interested and available for an interview. And I am grateful she responded in such a timely manner and welcomed the opportunity for the interview. I encourage everyone to visit her website as she holds an extensive resume in the performing arts industry. Randy has been an instructor for the past four years at Manhattan School of Music. She also received the Tony award for her work in CITY OF ANGELS (another hell of a good show, by the way). Randy has appeared on the Broadway stage, off Broadway, regional theatres and concert halls. She has appeared in such productions as ‘Moon Over Buffalo’ and ‘Laughter on the 23rd Floor’. Randy now appears in the Original Broadway cast of 'Mr. Saturday Night' opposite Billy Crystal. We conducted our conversation via email as she is one busy lady right now in her work as an active arts educator. Thank you so much for taking the time to answer questions, Randy: As an active arts educator and instructor for the past four years at Manhattan School of Music, what has been the most challenging moment of your teaching during this pandemic? There have and continue to be a few challenges about teaching musical theater performance during the pandemic. The first was purely technical. How to use Zoom? I had never even heard of it. Fortunately, we have great tech support at MSM. They offered us workshops and tutorials, and really invested in getting the faculty ready. I'm less of a luddite now. A little pandemic perk. But, what continues to be a challenge is how I keep my students engaged when we are not live in the classroom. How do I keep them excited about learning on a screen, when they're taking class from their bedrooms, dorm rooms, bathrooms and parent's cars? When we went into lockdown last March it was a little easier because I had already been working in the classroom with my students since September. I knew who they were as people and artists. The start of this school year, with a brand-new group of students. was one of the bigger challenges for all of us. We're six weeks in and now, I feel like I have more of a sense of who they are, and I think, they do of me. As a professional educator, what words of wisdom and sage advice have you been sharing with future artists given the unknown and uncertainty of the live performance industry? Have these messages been positively received? Ahhh, I want always to be honest with them. This sucks! It's hard and depressing, so go ahead and allow yourself to feel all those things. Then remember, this is temporary. You are always going to have down time in your chosen profession. This happens to be an extraordinary pause, and we are still uncertain about when live theater will return and how it will return. I never say if, because I am certain it will, and my students need to hear that truth from me. So, ask yourselves what you want to do with this time, and remember there is no wrong answer. You can stay connected to your art, or you can decide to get a real estate license or become an architect. What feels right to you? If you have chosen to be in school, then work hard at your craft. There is much to be learned about expressing yourself through the Zoom platform. More on that later. I find that when I don't lecture my students about what they should do, regarding Covid, they feel empowered to make their own decisions, and then my words are well received. As an artist and educator, do you see anything positive stemming from Covid 19? On a personal note, the pandemic has taught me to be more present. To take life one day at a time, and to be even more grateful for the wonderful friends, family, and colleagues in my life. It's taught me to take better care of my health. It has reinforced what I already know about live theater. We need it. Desperately. To unite us, teach us empathy, and when the day comes where I can sit in a packed house and watch my favorite performers on stage, some of which may be my very own students, I will cry buckets of happy tears. As an educator, I see my students finding imaginative ways to connect with each other and with students all around the country. Some are doing Zoom play readings, their own work included, and having group discussions after. Many are using the time to self-tape monologues and songs and get them up on their websites. They've started Youtube channels and some are Zoom directing as well. All motivated by the pandemic. They have acquired mad techno skills! Honestly, some of these tapes are so impressive! They look like mini independent films, and their own acting/singing work has deepened. The multitudes of feelings they live with on a daily basis, because of life during the pandemic, has absolutely fueled them as actors. As an artist and educator, what kind of impact will Covid 19 leave on the Broadway industry? This is a tough question. I don't know how it's going to impact our industry. When it comes back, when audiences are willing to gather inside a Broadway theatre, I suppose there will have to be a new financial model so a show can sustain itself. I trust that our unions and the Broadway League will figure it out. This much I do know; there will be an appreciation for the work by and for everyone who is responsible for it, onstage and off, that is so filled with love and joy. I might want to bottle and sell it. I need to think of a name. Any suggestions? Share with us your honest opinions about online streaming and You Tubing dramatic/musical work for others to see. Will streaming and You Tubing be the new media for the future artist going forward into the unknown? Honestly, I'm grateful for the live streaming right now. The opportunity for a young kid in the middle of nowhere to see "Hamilton" or the National Theatre's "Frankenstein" is awesome. I've also participated in Seth Rudetsky's "Stars In The House" with two cast reunions; the OBC of "Les Mis" and "City of Angels." It was so wonderful to see everyone in their little squares, and all donations go to the amazing, what would we do without them, Actor's Fund. I watched the "Sondheim 90th Birthday" live stream celebration in tears and loved BD Wong's "Songs from An Unmade Bed," which I saw on YouTube. As far as going into the unknown future, we, as educators, have a responsibility to prepare our students for it emotionally and practically. I do think it will continue to be a part of our art form. Streaming and YouTube are great platforms for artists to get their work out there to entertain, inspire and educate. Of course, it's not the real thing no matter how well it's filmed and watching them does have a twinge of "oh, I wish I was in the theatre." I do feel that there needs to be some payment made for people's work, and that's complicated, maybe even prohibitive, considering all the people who should be compensated. On another streaming note, I'm a Netflix addict. So there's that. Have you seen "The Queen's Gambit?' Fabulous! (Joe agrees it is a wonderful series) Despite all of the tension and drama surrounding the live entertainment industry, what specifically is it about performing that Covid will never destroy for artists now, the mid career artist and the upcoming and future artists? I'm going to quote Arthur Miller on this, because his words are far, far better than mine. "There is a certain immortality involved in theater, not created by monuments and books, but through the knowledge the actor keeps to his dying day that on a certain afternoon, in an empty and dusty theater, he cast a shadow of a being that was not himself, but the distillation of all he has ever observed; all the unsingable heart song the ordinary man may feel but never utter, he gave voice to. And by that he somehow joins the ages." To learn more about Randy, visit her website randygraff.com or her Official Fan Facebook page: Randy Graff Previous Next Profiles Andrew Moodie Back Andrew Moodie Theatre Conversation in a Covid World --- Joe Szekeres I was extending an invitation to Andrew to participate in this series through Messenger. Instead of writing one long bubble, I was dividing it into smaller bubbles. I hadn’t even got through the second bubble where I was going to send him some samples of the profiles, and Andrew quickly responded by saying he would LOVE to participate. We conducted our interview via email. Thanks, Andrew, for such a quick response. I’ve seen his work on stage several times at the Stratford Festival in ‘Macbeth’ and ‘Amadeus’, ‘Pinocchio’ at Young People’s Theatre and ‘Hamlet’ at Soulpepper. Andrew’s theatre writing credits include: Riot, Factory Theatre, 1995, directed by Layne Coleman. (1996 Chalmers Award for Best New Play). It has since been performed in Ottawa, Montreal, and Halifax. Oui, Factory Theatre, 1998. Wilbur County Blues, Blyth Festival, 1998. A Common Man's Guide to Loving Women, jointly produced by Canadian Stage and the National Arts Centre, 1999, and has since been performed in Montreal, Ottawa, Halifax, and Vancouver. The Lady Smith, Passe Muraille 2000, also remounted in Montreal. The Real McCoy, Factory Theatre 2007, 2008, and has since been performed in Ottawa and mounted in St. Louis in 2011. And finally, Toronto the Good, Factory Theatre 2009 was nominated for a Dora award for Best New Play. When I asked him where he had completed his training, Andrew wrote the following to include in his profile: “I was not accepted at any [theatre] school I applied to. One school told me that I don't have what it takes to be a professional actor. At first, I was truly crushed that I didn't get in but after hearing the experiences of other black actors at theatre schools in the 80's I soon realized that I would never accept the way that they would treat me, and that I would have dropped out of the school and become an actor anyway. Some universities and colleges in Canada still struggle with racism. The solution is hiring a diverse faculty and accepting diverse students. I teach at the Toronto Film School and we have a diverse student body and a diverse faculty. Our students literally come from all over the world. The Director of Operations is an Asian woman, Annie John. She’s amazing. We have teachers who are South Asian, Asian, African Canadian, you name it. I LOVE it there. If you are a person of colour and are looking for a place to study film and theatre acting, I would suggest studying at the Toronto Film School.” Thank you for adding your voice to the discussion, Andrew: The doors to Toronto live theatre have been shut for over a year now with no possible date of re-opening soon. How have you been faring during this time? Your immediate family? I’ve been busier than ever. Writing, applying for grants, teaching. My wife works for a grocery store chain, so she has been busy as well. It’s been really challenging for my daughters. Really challenging. How have you been spending your time since the theatre industry has been locked up tight as a drum? I wrote a play for the Tarragon Theatre, and I am in a Musical Theatre workshop with the Musical Stage company. And I just did a movie with Jennie Garth called ‘Left For Dead’. I’m doing a reading of a Norm Foster play next month. And I’m doing research on a play about AI and racial and gender bias. Learning about how an AI company that sells facial recognition software to police forces all over the world was run by a white supremacist. So not much really. 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? There is no escape. Remember, Shakespeare worked through the Black Plague. Some of his best plays were written during that time. 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? That’s the plan. No theatre till 2022. And that’s even after everyone gets the vaccine. It’s killing me. Oh. Perhaps that was not the best choice of phrase. 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? I always suspected that you could do theatre over the internet. Covid 19 has proven my hypothesis. 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 feel true danger going to the pharmacy to buy medicine, or the grocery store, or the bank. True danger. It makes me put on a mask and rub my hands with antiseptic. Theatrical danger is actually just a fear of being uncomfortable. That’s not true-life threatening danger. And I LOVE making people uncomfortable in the theatre. 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? I’ve always been too sensitive. Painfully so. Hopefully, I will be less sensitive when all this is done. 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? Absolutely. I get curious about something and then I write a play about it. And one day you’ll see productions of all the things I’ve been curious about. Previous Next Profiles Andrew Seok Back Andrew Seok Looking Ahead Kyle Brown Joe Szekeres According to the Vision 2021 short film on the Eclipse Theatre website, Artistic Director Andrew Seok calls himself a filmmaker, composer, and theatre creator. He completed his training with some private teachers, Boston’s Berklee College of Music, and York University’s Music Programme. He also completed studies at the Royal Conservatory for Classical Composition and Orchestration. His bio on the company’s website is extensive. Quite an impressive resume, I must say. When he realized there weren’t a lot of opportunities for Asian actors in theatre or film, Seok began to create those opportunities for himself. He’s never held a 9-5 job, never worked steadily in an office nor receive a regular pay cheque. But he has always considered himself an artist in every way after a trusted friend once told him, “What’s the point of making art, ever?” when he experienced doubts about any of his musical works finding a life of their own after any original premieres. I truly respect Seok’s candour in stating his vision is to make art as he moves forward in his career post-pandemic. He recalled being part of a music collective years ago where those involved were trying to start a record label. Andrew asked: “Why are we doing this?” and the initial response was to make money, but Seok pointed out there were far better ways to do so than starting a music label since none of them is getting rich from it, and very few will achieve that level of coveted success; ergo, the reason for the shift in doing art for the love of it. Seok recognizes how difficult it is in any business setting to find individuals with whom one clicks, but as he states about Eclipse’s Artistic Producer Chilina Kennedy: “I was very, very lucky to find someone like her who is a new working relationship for me.” Currently, she appears in the Broadway company of ‘Paradise Square’, but the two are constantly speaking on the phone all the time regarding artistic issues related to Eclipse.” What is one thing this two-year pause has made Andrew realize about himself personally and professionally? He had a chuckle at first before stating this was a loaded question. For himself, Seok realizes he must create as it is a huge part of his identity. Whether it’s building wooden furniture, woodworking, graphic design, or writing short stories, there must be an end product no matter what. It is this end product which shows the thought, the creativity and the passion from whence it came. Andrew felt lost during Covid when he couldn’t maintain this structure for himself. Professionally, (and he realizes this personally), because the theatre industry took a huge nosedive during Covid, Seok re-evaluated his relationship with the business side of things, how much money can be earned, what will the reviews be like and will there be enough money to do something after. Instead, he now focuses on appreciating the work and the journey of it rather than the financial outcome or the ‘success of things’; if he placed passion into it and his wholehearted energy and creativity into it, then that is the reward in that endeavour. With an industry that’s crippled, what else do you have? Some sage advice here for actors and artists who may still be experiencing a forlorn sense of loss. Our conversation then turned to Seok’s upcoming project ‘Til Then and why audiences need to see this production. When he became Artistic Director for Eclipse, Andrew and Chilina had a sit-down and had a frank conversation. If they wanted to make money, they should stage ‘Mamma Mia’ or ‘Phantom of the Opera’. Both Seok and Kennedy agreed passionately they wanted to foster and develop Canadian new musicals and help put the country’s artists on the world stage. If this vision failed, crashed, and burned to the ground, at least the two of them could hold their heads high and say they did this because it was important to them rather than produce big blockbuster shows. Eclipse is starting a new Canadian Musical Works Festival where there will be a reading of new Canadian musicals. For Andrew, a big launch was necessary. He thought it would be great to get all of these amazing Canadian theatre musical writers and songwriters from across the country in celebration to tell about their experience of this time of the Great Pause from Covid these last two years. If these songs can be moulded together to create a show, it would the ultimate celebration of the Canadian music theatre scene in this pandemic time when the industry has been crippled. He continues: “There’s no one writer to write everything we’ve been through. There are too many stories, too many angles, too many perspectives of what we’ve been through. Let’s get as many artists as we can. So we got 24 writers – some paired up. They were given the question WHAT DID THIS TIME MEAN TO YOU?” Seok smiled as he recalled these artists saying: “What do you want us to write about?” He replied: “Whatever you think you need to write about now.” The only stipulation he made clear: “Let’s try not to make this a super depressing show.” The work he received from these artists ranges in all the emotions with the ups and downs and the universal effects of everything we’ve all endured. Andrew remained a tad coy in explaining further why audiences should see the show. He did add though, that a really cool thing happens whereby there are moments where we will watch the show, and where we will be invested in what we are watching: “It’s a show about us, and in the trailer, (that you can see on the website) this is all of our story presented here by Canadian musical theatre icons and songwriters from Canada. This was our dream and we achieved it so we’re hoping audiences will come to see it.” As we concluded our conversation, I recalled a line from the VISION 2021 short film on the Eclipse website: “Let us find a way to dream again.” What is Andrew Seok’s newest dream once ‘Til Then concludes July 20? We shared a good laugh when he replied: “How do I say this without getting in trouble?” A pause where he thought momentarily and then: “I want Canadian artists to be spotlit on the world stage, for sure. If I as an Artistic Director of a Canadian theatre company can help that, I absolutely want to.” A noble and heartfelt intention, indeed, but, for Andrew, the arts and entertainment world has started to veer on a course in a certain direction. He’s not saying it’s a bad direction, but Andrew would really love for more non-regular theatre-going public to see more theatre than just going to see shows like ‘Les Mis’ or ‘Hamilton’. Andrew has many friends who are not in the industry and who have no idea of what’s out there. Yes, they’ve heard things by word of mouth and that’s all they know. He wants to be able to show his friends it’s time ‘to broaden the buffet’ for the general public to see. Andrew’s dream going forward for himself and Eclipse? Hopefully trying to bring more theatre to the masses and have it being appreciated by more than just a small niche group. There’s more to theatre than just the ritz and razzle-dazzle stuff. He likes it, but that’s not the kind of stuff Andrew writes. He hopes people will come to see stuff not part of their wheelhouse. ‘Til Then’ runs July 17-20 at the Berkeley Event Church, 315 Queen Street East in Toronto. For tickets: http://www.eztix.co/ezkiosk/en/1784250. To learn more about Eclipse Theatre: www.eclipsetheatre.ca . Previous Next Profiles Kaylee Harwood Back Kaylee Harwood Theatre Conversation in a Covid World Kristine Cofsky Joe Szekeres 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/ Previous Next Profiles Kevin Bundy Back Kevin Bundy Looking Ahead Trish Lindström Joe Szekeres 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? Previous Next Profiles Drew Hayden Taylor Back Drew Hayden Taylor Self Isolated Artist Cylla von Tiedemann Joe Szekeres I had heard of playwright Drew Hayden Taylor as his play ‘Cottagers and Indians’ was to have been presented this summer by Port Perry Ontario’s Theatre on the Ridge. Unfortunately, the production was canceled so I am hoping it will take place next summer. When Drew sent me his CV, I was sorely mistaken when I thought he was a playwright. Self-described as a contemporary storyteller, Drew’s exploration of the storytelling tradition has crossed many boundaries. He has written more than twenty plays (resulting in almost a hundred productions). As a playwright, Drew has proudly been a part of what he refers to as the contemporary Native Literary Renascence. In the world of prose, he enjoys spreading the boundaries of what is considered Indigenous literature. Drew and I conducted our interview via email: 1. It has been nearly three months right now that we have been under this lockdown. How have you been doing during this period of isolation and quarantine? How is your immediate family doing? Life in the age of Covid is annoying and somewhat difficult but overall, things are fine. I go back and forth to my reserve north of Peterborough, Ontario, and Toronto for a change of scenery but overall, life as a writer I am used to long periods of isolation. One of my best memories was spending a month in the Leighton Studios in Banff…but three months is getting kind of ridiculous. I am so sick of my own cooking. Also, I am jonesing for a play/movie/restaurant or something like that. 2. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? Oh God, I think I’ve had four, maybe five productions of my work shut down this spring and fall, and about a good six to eight speaking engagements canceled. One of the projects I’m working on is a documentary series for APTN and we are several segments short of finishing the 13 episodes. Add to that I was to have a talk how on APTN too that was postponed. As a result, it has been a pretty quiet spring. 3. What has been the most difficult and/or challenging element of this period of isolation for you? I used to travel a lot. I love crossing this country and this world spreading the Gospel of Indigenous Literature. Some writers hate that, but I actually quite enjoy it. Ah, for the smell of jet fuel engine. 4. What have you been doing to keep yourself busy during this time of lockdown? Well, I’ve written a novel. Started work on another anthology in my ‘Me’ series of non-fiction. Developed two plays that I will be starting work on in about a week or two. Planted a garden and put on some weight. 5. 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? I know many performing artists have been hit hard. All I can say is this too shall pass. Soon they’ll be back on stage being underpaid just like it never happened. As a writer, I just tell other writers to put it to good use. As I said, I don’t think I’ve been more productive. This time next year, there is going to be an explosion of babies, divorces, and novels/plays. Turn something negative into something positive. 6. Do you see anything positive stemming from this pandemic? I do not know if it’s positive but, up until six weeks ago, I had no idea what ZOOM was. Now I get ZOOMED regularly. And I’ve almost caught up on my reading. And again, I don’t know if it’s positive, but I binged all of the ‘Tiger King’ series. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? Will streaming/online performances become part of the scene? Good question. I don’t know. I am not a performing artist…other than lecturing and I have a feeling so much more of that will be done via ZOOM. It’s a lot cheaper and a lot less fuss for the hosts. 8. What is about the arts that COVID will never destroy? The ability to dream, to imagine. With a respectful acknowledgment 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? In which language!?!?!? For the sake of argument, let’s say ‘coobmen’. I am not sure about the spelling but in my community’s dialect of Anishnawbemowin, it means ‘I’ll be seeing you.” There is no word for goodbye where I come from. b. What is your least favourite word? Primitive c. What turns you on? Intelligent humour d. What turns you off? Stupidity e. What sound or noise do you love? Cricket f. What sound or noise bothers you? Sirens g. What is your favourite curse word? Crap! h. What profession, other than your own, would you have liked to attempt? A chef i. What profession would you not like to do? Anything involving a cubicle j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Tell me a story.” To learn more about Drew, visit his website: www.drewhaydentaylor.com . Twitter: @TheDHTaylor Previous Next Profiles Tanisha Taitt Back Tanisha Taitt Self-Isolated Artist --- Joe Szekeres During this time of isolation, I’ve been in touch with some of the Artistic Directors in Toronto, Stratford and Montreal to profile their work from home and online since they are isolated from their theatres. One of these companies has a unique sounding name I’ve always liked every time I hear it – Cahoots Theatre. To be in cahoots is clever. I had reviewed their production of ‘Good Morning, Viet Mom’ and wanted to learn more about this company. I was pleased when I got in touch with newly appointed Cahoots’ Artistic Director, Tanisha Taitt. Tanisha was appointed October 1, 2019. Her biography on Cahoots’ website is highly impressive, and I heartily recommend you read it. From 2013-2019, Tanisha was a Dramatic Arts mentor with the Toronto District School Board. She has worked in many theatre companies including National Arts Centre, Obsidian, Soulpepper, Nightwood and Buddies in Bad Times. She is fiercely committed to inclusion and to racial and cultural representation in the performing arts. I am looking forward to seeing what she has programmed for the next season and once it’s safe to return to the theatre. We conducted our interview via email: 1. How have you been keeping during this nearly three-month isolation? How is your immediate family doing? What a crazy time. It’s been a rollercoaster for sure. About three weeks after isolation began, I suddenly found myself feeling very ill, and ended up being quite sick for about ten days. I am much better now but that was scary. My family is doing well. Although I sadly have not been able to be with them in person since early March, we talk everyday. 2. What has been most challenging and difficult for you during this time? What have you been doing to keep yourself busy? Difficult? Being ill, being away from my family and friends, the incredible uncertainty with regards to the future of the theatre industry and carrying the weight of the racist murders of unarmed Black men. I’ve been writing a lot, reading a lot, listening to music that I love a lot. And I will very likely write a new album soon. There are SO many songs bouncing on the walls of my head. So very many. I was a singer-songwriter long before my life led me to theatre, for many years, and that is still my go-to place when life feels like it’s spinning off its axis. I’m also pondering who I want to be on the other side of all of this. This incredible shaking that the earth is experiencing right now cannot be for naught. I feel that I must emerge having learned and grown in some way, while at the same time not trying to force anything that isn’t true. One thing I’m trying to do more of is face-to-face, one-on-one conversations online, rather than quick emails or texts or Facebook messages. And good old-fashioned phone calls. So underrated. I want more time with my friends, even if we can’t be in the same room, feeling connected on a more intimate level. 3. Tanisha, I can’t even begin to imagine the varied emotions and feelings you’ve been going through personally and professionally with other key players and individuals with regard to Cahoots’ future. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts and theatre scene? I sure hope it does. If it doesn’t, then a lot of people lost a lot of work and a lot of money for no reason other than a virus. I’m not saying that to be trite, or to downplay the impact of this disease and the enormous suffering and loss attached. I’m saying that if the only things to come out of all of that are negative, that will be a second tragedy. I hope that this time is causing all of us to look deeper at what it is we’re doing as a species, and on more of a micro level, as an industry. I no longer take theatre for granted, at all. We’ve all seen how quickly that which we were certain of can vanish. So, I hope that the lasting impact of this is not a financial one, but an ideological one. 4. Do you have any words of wisdom to console or to build hope and faith in those performing artists and employees at Cahoots who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? All I can say is that this will eventually end. Things won’t be the same afterward, but I don’t believe that we are out of theatres forever. I think that the most important thing is to stay in touch with your creativity, because creativity is innately hopeful. That doesn’t mean that you need to be making something all of the time, or any of the time for that matter. But it means that the part of yourself that is the visionary -- the designer or the director or playwright or actor or producer or teacher -- cannot be allowed to fade away. Because we will need you more than ever when we return. We will need to reignite the theatre, and it will take all of us holding onto our matches in order to do that. We can’t restart the fire if we’ve all thrown out our matches. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? I hope that we become more genuinely compassionate and less self-centered. There is a lot of genuine goodness in our industry, but there is a lot of machination and ego too. Like, ego that would be laughable if it wasn’t so damaging and obnoxious. I am hoping that the vulnerability we have all been made to feel during this pandemic, on multiple levels, makes us kinder. 6. You Tube presentations, online streaming seems to be part of a ‘new normal’ at this time for artists to showcase their work. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I think that each company needs to make that decision for themselves. I think there’s been some great stuff streamed, and some very-hard-to-sit-through stuff streamed. People are trying because this is all new to us. I do think that it’s been a bit reactive, like there’s a sense of sheer panic about getting stuff online right away or having things for people to watch all of the time. I don’t think that’s necessary at all. I think that it’s going to become extremely oversaturated and eventually people will just turn away from it altogether. Some of what is being thrown at the wall will stick and some won’t. There will be magic and there will be mediocrity, just like on real stages. We’re all likely to stream something that is a bit of a hot mess, and something else that works beautifully. A lot of trial and error is to come, because yes, I think that there is going to be a lot of virtual theatre coming in the year ahead. 7. What is it that you still adore in your role as Artistic Director of Cahoots that Covid will never destroy? Well I just began in the role last Fall, so it’s very new still. But I love what Cahoots stands for and I adore the enormous honour that I’ve been given -- to try each and every day to convert those values into art and community bonding. My commitment to that can never be felled by a little pandemic! With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests: 1. What is your favourite word? Truth 2. What is your least favourite word? Retarded 3. What turns you on? Tenderness 4. What turns you off? False equivalencies 5. What sound or noise do you love? A baby’s gurgle 6. What sound or noise bothers you? Car alarms 7. What is your favourite curse word? I don’t really swear, but I’ll admit that hearing a truly horrible human called an MF has a certain and very- satisfying poetry to it. 8. Other than your current profession now, what other profession would you have liked to attempt? A&R Director at a record label 9. What profession could you not see yourself doing? Gravedigger 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Well done, my love.” To learn more about Artistic Director Tanisha Taitt and Cahoots Theatre, visit www.cahoots.ca . Previous Next Unique Pieces Article 'Uncle Vanya' by Anton Chekhov. Adapted by Liisa Repo-Martell Back 'Uncle Vanya' by Anton Chekhov. Adapted by Liisa Repo-Martell Now onstage at Toronto's CAA Theatre Credit: Dahlia Katz. Tom Rooney as Uncle Vanya Joe Szekeres “A theatre dream has come back. I’m elated that this cast returns. This ‘Uncle Vanya’ piques majesty in its ordinariness.” I had seen this astounding production of ‘Uncle Vanya’ at Crow’s when it premiered over a year ago. When I heard it was returning a year later (after recent performances at Hamilton’s Theatre Aquarius), I wanted to revisit it to see if its emotional impact still hits as hard as it did. It still does, especially at the end. (except for that annoying cell phone alarm. Grrrr!!!) As I left the auditorium, an audience member remarked how ‘Uncle Vanya’ sometimes seems like a comedy. That thought had never crossed my mind. I sat with it, wondering if there was truth behind it. And there is. Liisa Repo-Martell’s solid adaptation of this Chekhovian classic with the original Crow’s cast finely highlights those comic moments because there is so much sadness within the lives of these characters. This Mirvish presentation deserves its singular review. The time is the waning days of Czarist Russia. Ivan “Vanya” Voynitskiy (Tom Rooney) and his niece, Sonya (bahia watson), are doing their best to run their family estate, which appears to be in its initial decaying stage. Ivan is the son-in-law of Alexandre (Eric Peterson), a celebrated professor. We learn Ivan is a widower. Alexandre returns to the estate with his young, rather beautiful wife, Yelena (Shannon Taylor), and this visit causes the lives of everyone in the house to be changed forever. We also meet the denizens of the family estate. There is the wise housekeeper Marina (Carolyn Fe), known as Nana. Dr. Astrov (Ali Kazmi), a local country doctor, has been called to the estate by Sonya on account of her father’s supposed gout. Sonya’s obvious growing affection for Astrov becomes noticeable as the story progresses. Does he feel the same way? It also appears Astrov carries his secret intentions at the house. Ivan’s mother, Maria (dtaborah johnson), a widow continues to voice her opinions even when she is not asked about how life is run on the estate. Ilya Ilyich (Anand Rajaram), also known as ‘Waffles’ on account of his pock-marked face, becomes the guest who shows up, stays for days, leaves, and then returns. He is a local impoverished landowner. The plot heats up when Alexandre announces his intention to sell the estate and evict everyone. What originally made this production at Crow’s Theatre astounding was its immersive experience. The audience walked right into the sitting/dining area of the estate. Most of the audience floor seating made me feel like an unseen guest watching the story unfold mere feet away. I could see facial expressions clearly in each character, which kept me keenly focused. This time, I felt removed from the immediate action at the CAA Theatre. It’s comparable to a fishbowl where I watched the action from afar. I couldn’t see faces as clearly as I would have hoped since I was about half to three-quarters of the way back in the auditorium. That doesn’t negate how powerful this ‘Uncle Vanya’ continues to be in the hands of this remarkable company of artists who know something about the art of performance. Director Chris Abraham’s gorgeous visual staging remains a theatre lover’s dream. Julie Fox and Joshua Quinlan’s co-set design is a marvel to behold. At one point, Alexandre speaks about the estate being a mausoleum. Fox and Quinlan have readily captured that ‘cemetery’ look with a stone wall back wall that rises high and towers. Astrov maneuvers a bucket into place at one point to contain water dripping from the roof. Another amusing moment happens upon Vanya’s first entrance, showing the place is falling apart. The combination of Kimberly Purtell’s lighting and Thomas Ryder Payne’s sound designs richly underscore several dramatic moments to emphasize the claustrophobia of the estate. Purtell’s selection of natural light beaming through the windows of the second act immediately catches the eye. That brief interlude of a warm glow remains welcome in a world that appears to suffocate as Yelena reminds the others. Ryder Payne’s selection of realistic sounds of approaching horse and carriage and an approaching thunderstorm acutely make us aware there is a world outside the one the characters know. Ming Wong’s costumes are apt reminders of the class system. Abraham’s direction is seamless from one scene to the next. He creates fascinating characters in their ordinariness who pique interest in what they do on stage, what they say to each other, and the underlying meaning of their discussions. I’m elated that this cast returns. Their performances are amply deepened. A noted weariness emanates in their characters, stances, and walking, making the sadness of the play pierce even deeper into the heart. As housekeeper Marina, Carolyn Fe is lovely in those moments where she hurls a one-line zinger at someone and then becomes that matriarchal figure of comfort and solace. Anand Rajaram injects a heavy-hearted gloominess into his ‘Waffles,’ who wants to feel a connection with Vanya’s family. dtaborah johnson’s Maria also provides much-needed moments of humour, but dutifully reveals the inherent sadness the others feel as the story unfolds. As the young but dutiful wife to Alexandre, Shannon Taylor’s Yelena at first elicits compassion when she feels as if she cannot breathe within the confining restraints of the estate. However, Taylor utilizes grace and elegance to hide Yelena’s true intentions. Like Taylor's Yelena, Ali Kazmi’s Dr. Astrov has much to lose. Kazmi’s Astrov effectively uses his handsome charm around Sonya, Marina, and Yelena, and there are terrific moments to watch when this occurs. Kazmi’s final moment with Sonya is heartrending. Eric Peterson’s Alexandre is devilishly narcissistic and cutthroat. His Alexandre never ventures over the top. As the ever-toiling Sonya, who yearns for love, bahia watson delivers a riveting performance of emotional layers in her conversation with Yelena before the end of the first act and Astrov before the play concludes. Tom Rooney continues to amaze as the central character. His Vanya subtly and carefully commands the stage one moment with heightened moments of grandeur the next. When Vanya finally lashes out at Alexandre as the truth comes out about the estate sale, Rooney delivers a masterful performance in listening, responding, and reacting with tremendous and attentive care. Final Comments: This ‘Uncle Vanya’ most certainly deserves a second look if audience members had the chance to see it the first time at Crow’s Theatre. If this is your first time, prepare for an epic artistic feast of performers who tell a hell of a good story. Please go and see it. Running time: approximately two hours and 45 minutes with one interval/intermission. ‘Uncle Vanya’ runs until February 25 at the CAA Theatre, 651 Yonge Street, Toronto. For tickets, visit mirvish.com or call 1-800-461-3333. David Mirvish presents the Crow’s Theatre Production of ‘Uncle Vanya’ by Anton Chekhov Adapted by Liisa Repo-Martell Directed by Chris Abraham Set and Props Co-Designers: Julie Fox and Joshua Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Thomas Ryder Payne Stage Manager: Jennifer Parr Performers: Carolyn Fe, dtaborah johnson, Ali Kazmi, Eric Peterson, Anand Rajaram, Tom Rooney, Shannon Taylor, bahia watson. Previous Next Profiles Jamar Adams Thompson Back Jamar Adams Thompson “[The rehearsal process for ‘Tyson’s Song’] has demanded from us a greater amount of trust in our vulnerability with each other and our ability to hold space and grace with one another.” ​ Joe Szekeres The last time I saw Jamar Adams Thompson appear on stage was in Cahoots’ Theatre Production of Steven Elliot Jackson’s ‘Three Ordinary Men’, directed by Tanisha Taitt. I remember being so moved by that production that I could not speak for a moment afterward. Jamar was part of a terrific ensemble that kept me riveted by the story’s action. He was appreciative and humbled by the audience’s experience of ‘Three Ordinary Men’ at the time, and he says that experience will remain part of his heart forever. Knowing that Jackson’s story deeply touches audiences means the world to him. We interviewed via email. Jamar is a University of Windsor alumni and holds a BFA (Bachelor of Fine Arts) Honours in Acting. He is smack dab in rehearsals for the upcoming Canadian premiere production of Peter N. Bailey’s ‘Tyson’s Song, ’ which opens April 26 at Toronto’s Factory Studio Theatre. This is Adams Thompson’s debut working with director Ash Knight and production company Pleiades Theatre. Working on the production with a team that he calls passionate and intelligent has made the process both inspiring and challenging as an actor. He calls Ash Knight: “one of the most passionate directors I know who really speaks true to his convictions.” Knight is always keen on exploring the most interesting choice in a character’s objectives and motivations. For that reason, Jamar feels he has never felt more born for a role. ‘Tyson’s Song’ is a story about two best friends, two brothers, on one last big night out in the city. The play is a conversation not only among brothers but also one that is unspoken for many of the viewers who might relate to these characters. This conversation, this story, ultimately unpacks some very real issues in the Black male community of mental health, the absence of genuine emotional support and positive emotional outlets, and questions of masculinity, identity and self-fulfilment. It is a story of real pain but also one of hope. Adams Thompson truthfully claims that ‘Tyson’s Song’ found its way to him. Unbeknownst to each other, two close friends of his had forwarded the e-drive submission about the show, demanding that Jamar audition. When he read the submission email the next day, it was as if I was coming home after a very long pilgrimage: “The email mentioned “Black men’s mental health” and “Brotherhood” and specifically sought second-generation Jamaican/Caribbean-Canadian artists. I have and will always remain an advocate for the continued discussion of mental health and support among all people, but to know that someone was finally writing a Canadian story for someone like ME was nothing shy of a dream come true.” Excitement would be an understatement describing how Jamar feels about the upcoming premiere. He recognizes the pressure artists always feel when presenting new work. Still, as surreal as that may sound, this is the first time Jamar has had the chance to explore a character from his particular side of the Black diaspora. Although many more stories are being told and written for his people in general, there is still so much more room for the stories of Caribbean people in Canada. Jamaica has influenced so much of the culture in Toronto, from its cuisine to music to art and, most notably, its cultural slang. Despite this influence and the abundant population of Jamaicans in the city, their stories have not made footing in the theatre as they have in the poetry, music and dance scenes, or even the visual arts. One of his biggest hopes with the premiere of ‘Tyson’s Song’ is to motivate a greater ushering of Caribbean and Jamaican-Canadian stories within the city. ‘Tyson’s Song’ appeals to me for several reasons. One is to learn more about the stories of the Caribbean people in Canada. I also want to see Jamar’s work in a completely different setting from ‘Three Ordinary Men.’ I also have a personal connection to Jamar’s fellow actor, Kyle Brown. I taught him when he was in high school: “WOW! What a full-circle moment for you as well! You'll be proud of him. Kyle and I hit it off very strongly from the auditions. We had the pleasure of working together in the callback, and right away, a palpable grace came with his presence. It was so easy to play off one another and help each other shine.” Jamar calls Kyle an incredibly generous and honest performer. Their most significant discovery with these characters is their unique ability to relate with both of them. They each carry a bit of Tyson and Bryan and could easily have read for the other’s part. This unique empathy has allowed them to bridge many hidden gaps and barriers in connecting with the characters and each other in a way that he thinks has surprised them both. What’s next for Jamar Adams Thompson once ‘Tyson’s Song’ concludes its Canadian premiere? He jokingly stated in jest that a nap would be ideal, as I’m sure any actor who is presenting new work would. But he’s not one to rest too long. Jamar has been keeping busy in hopes of pursuing his MFA (Master of Fine Arts degree) quite soon. While his goal is always acting, be it on stage or in front of the camera, he is taking more steps towards participating in his own play premiere. Writing has not so secretly been a large aim in fulfilling his purpose as a storyteller! His hope is to have some scripts and anthologies that he has been working on come to life at a theatre near us. He closed off our email conversation with a 😊 and said: “Stay tuned.” ‘Tyson’s Song’ runs from April 24 to May 19, 2024, in the Factory Studio Theatre (125 Bathurst St.). Tickets are pay-what-you-choose starting from $5, at PleiadesTheatre.org or FactoryTheatre.com. Previous Next Profiles Colin Ainsworth Back Colin Ainsworth "Endless discovery is wonderful. You never stop learning. That’s the joy for me." Colin Ainsworth's website Joe Szekeres The first time I heard Colin Ainsworth sing was at the opera. He has participated in this stunning art form for twenty-plus years. Opera is one of his passions. He never stops learning as there are more roles he wants to sing and more he wants to learn. Now, I have no formal training or education in opera. I’ve attended several productions since I started reviewing. I have exited the theatre and sometimes have learned something about this dramatic art form. Sometimes I understand completely what’s going on. Other times, I think I might. There have been those rare moments where I didn’t understand a thing. However, from my brief experience, I’ve learned there is something for everyone at the opera. Co-Artistic Directors of Toronto’s Opera Atelier (OA) certainly espouse this thinking. Marshall Pynkoski and Jeannette Lajeunesse Zingg reached out over two years and encouraged me to attend. OA continues to look for audience members who want to learn more. It doesn’t matter if someone has no background or education in this field. Come, see, and hear unique stories told and sung with passion and intrigue. Colin concurs wholeheartedly with this goal Marshall and Jeannette have set for OA: “If we don’t encourage the next generation to come and see opera, there won’t be an audience in five, ten, or fifteen years. The art of opera must continue to cultivate emerging audience members.” If he could look into a crystal ball and see where the art of opera is headed over the next five years, Colin adamantly states there has been a big shift in inclusiveness for everybody, not only for singers and performers and artists but also for the audience. For example, he was working in Pacific Opera and there is an initiative there to include the blind and the deaf, people whom one would think might not like opera. Opera Atelier has also begun initiatives to include audience members who are deaf and blind. Colin’s parents are both deaf, so this initiative is very close to his heart. His parents love the opera because it’s very visual, everything from the theatrics right down to the lighting, the costumes, and the dancing. Some operas incorporate American Sign Language interpreters and they are placed at the side of the stage. The deaf students who attended that Pacific Opera performance were enthralled because the production was in their language. Ainsworth works with various school groups across Canada as well. Every single time students come to the workshops and programmes offered either through OA or other companies, and then see the opera, the young people are enthralled with what they are watching. “They love it!” Most of the time, students say they want to come back to the opera. How is Colin feeling about this return to the theatre even though we are still in Covid’s embrace? He says it has been a long time coming but it is nice to be back in the theatre. Ainsworth recognizes audiences have been a bit apprehensive about returning. From his artistic perspective, he’s fine with that but he wants people to come back. What’s important is the fact confidence is re-building about sitting indoors again in crowds. Just take a look at Blue Jays’ games where people are sitting shoulder to shoulder, screaming and wearing no masks. During the pandemic, Colin completed several digital projects with various groups, but he is quick to add: “It’s not the same. You don’t get feedback from the audience. You don’t get the energy from the audience. You can’t play off that give and take there is in live theatre.” ‘The Resurrection' will be staged just before Easter Sunday. I did see the digital production during the pandemic, and it was fine; however, I know it will be a completely different experience live. Colin even pointed out something of which I was unaware. He found the digital production challenging: “You’re lip-syncing to a recorded production of your voice. You have to make sure your voice and your lips are moving at the exact same time. That takes a bit of practice in remembering where you sped up or slowed down, or perhaps sung differently.” With a laugh, Colin added he has learned and enhanced a new skill. What is it about opera that keeps Ainsworth focused and makes him still enjoy what he has chosen as his career? Opera has so many layers that you never seem to stop discovering. There are operas he has performed four or five times, and Colin continues to discover layers and pieces of things whether it be in the orchestra, the story, or the character. With a return to a role he may have played or sung before, Colin always discovers something new he may not have understood or hadn’t heard the first time. He’s also interested in diving into new roles now that he is of a certain age: “Endless discovery is wonderful. You never stop learning. That’s the joy for me. That’s so cool.” Colin has participated in new operas of the day. He never seems to tire of the older ones. If he can’t sing Handel’s Messiah each year, he humorously states it’s just not the same for him. (Note: I must make a concerted effort to hear him sing Messiah next year). What is it about the biblical story of ‘The Resurrection’ that lends itself so well to opera? “It’s dramatic” He further adds: “You go through the Bible from Noah to prophets and through Jesus Christ, these are very dramatic stories. Religious themes, the pathos from Jesus’s death and his mother, Mary, and Mary Magdalene. These are all dramatic stories that come together as a cohesive unit to make a beautiful story.” When I asked what Biblical story he’d like to sing if there was an opera written, Ainsworth paused momentarily and then with an: “Ooooo, Samson.” There’s also a piece by Benjamin Britten called ‘Abraham and Isaac’ that calls for alto and tenor and that’s it. And what’s next for Colin Ainsworth once ‘The Resurrection’ concludes its run just before Easter?: “That is always the hard question (and he has a good laugh). I travel to Parry Sound for a summer festival up there. In the fall, I’m coming back to Opera Atelier. There are a few items that I cannot share at this time, but they’re wonderful upcoming things.” ‘The Resurrection' runs April 6 and 8 at 7:30 pm and April 9 at 2:30 pm. The three performances will take place in person at Koerner Hall at the TELUS Centre for Performance and Learning, 273 Bloor Street West. To purchase tickets online and to learn more about Opera Atelier, visit www.operaatelier.com . To learn more about Colin Ainsworth, visit his website: www.colinainsworth.ca . Previous Next Profiles Louise Pitre Back Louise Pitre Self Isolated Artist Helen Tansey Joe Szekeres What’s not to love about Louise? She is a University of Western Ontario graduate just like me. (Go Stangs!) Even before she appeared in the iconic Toronto and Montreal productions of ‘Les Miserables’, I saw Louise first perform as Mrs. Johnstone at Toronto’s High Park in Willy Russell’s ‘Blood Brothers’. If you know the ending after the bodies of the brothers are lying on stage, and their mother stands between them, I remember wiping tears from my eyes watching and listening to a mother’s sorrowful lament over the deaths of her boys. That final song pierced the heart of everyone who sat around me on that warm summer night. What a glorious way to be introduced to one of Canada’s finest singers. And then to see Louise just this past fall in ‘Piaf/Dietrich’ as part of the Mirvish series. Absolutely heaven once again to see one of Canada’s finest chanteuses grace the stage and offer one hell of a performance as the legendary tortured soul, Edith Piaf. Louise was also nominated for a Tony award for her work in the Broadway production of ‘Mamma Mia!’ She is the recipient of the National Broadway Touring Award, a New York Theatre World Award, a San Francisco Theatre Critics’ Award, a Betty Mitchell Award and four Dora Mavor Moore awards, all for best performance by a leading actress in a musical. We conducted our interview via email: 1. How have you and your family been keeping during this two-month isolation? My husband and I are doing fine actually. We are feeling lucky to live where we live and to be able to be together, at home, with our dog. And we are deeply grateful to be good at spending a lot of time together. 2. What has been most challenging and difficult for you during this time personally? What have you been doing to keep yourself busy? The most difficult thing about all this is the lack of in-person visits with friends. We see a couple of friends once in a while in their backyards where we can maintain a good distance and still talk. I miss my dinners out with girlfriends!!!!! We miss our gym!!!!!!!!! As for keeping busy we are doing our workouts in our small condo with elastic bands and lots of floor exercises. We walk the dog 3 times a day. We try to add a powerwalk without the dog because we feel the cardio part of our workouts has gone out the window!!!!! And most of all, I am cooking up a storm. I cook a lot all the time but now I can devote more time to it and I admit I love that. 3. Were you involved in any professional projects when the pandemic was declared, and everything was shut down? How far were you into those projects? Will they come to fruition some time soon? Professionally, has Covid changed your life regarding all the work you have completed or may have had planned? Joe and I were in the middle of the run of our show THE TIMES THEY ARE A’CHANGIN’ at the Segal Centre in Montreal. Can you think of a better title for this situation????? We thought so! We got a call from Lisa Rubin, the AD, on Thursday afternoon (March 12) that there would be no more performances. We went in to get our stuff from our dressing rooms and packed everything in our rental apartment to drive back to Toronto. A surreal feeling to say the least. There was another production in final preparation to happen this summer but obviously that is gone, and I have no idea when it can happen now. I have some concerts booked in early 2021 but, as they are outside the country, I cannot assume that these will happen either. So basically, my work life has come to a grinding halt with no concrete end in sight. 4. Some actors whom I’ve interviewed have stated they can’t see anyon'e venturing back into a theatre or studio for a least 1 ½ to 2 years. Do you foresee this possible reality to be factual? I’m afraid I do. It will be prohibitive to put on most productions with only a portion of the seats sold in order to maintain safe distancing for the audience members. There is also the very challenging aspect of the backstage area. How can you keep a safe distance from dressers and crew members running the show…….not to mention keeping safe distance between performers on the stage. I am bracing for 1 1/2 years but at this point we should not even try to put a date on this. 5. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact, either positive or negative, on the Canadian performing arts scene? This strange time highlights the need for the arts. People are turning to music, theatre, dance, movies, television, documentaries, cooking, painting etc…….because they all realize it makes their life fuller. It feeds the heart and the soul. It brings solace. The arts always do this valuable work, not only in times of trouble and war. But that is when it is more evident. Can you imagine how everyone would be spending this incredible amount of time in isolation if none of the arts was there to be consumed?? Then why is it that in “normal” times budget cuts hit the arts so cavalierly????? I am hoping that the public at large will come out of this with a new appreciation for the arts and the people who create it. 6. Do you have any words of wisdom to build hope and faith in those performing artists who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? Oh boy…….right now I find it very difficult to feel hope and faith in the world in general. I am struggling to believe that most people are good and fair and tolerant as my usual positive attitude has been shaken to the core this last while…and I am not talking about COVID 19…. I would say though to the recent graduates that although this is an insanely difficult time to start in this business it is actually an intense preparation for a performer’s life: it is feast or famine so often in this business; there is no guarantee of work; you make a great salary on one job and a shitty one on the next, etc…… This time can make you aware that you must keep working on your craft all the time because you want to be better and better and better and most of all ready when you are called upon. It makes you keenly aware that putting money aside is extremely important so you can afford to be out of work. This is the time to dive into learning all those songs you have been wanting to learn and memorize for auditions, reading all those plays and musicals you are not familiar with, watching all those on-line movies/musicals/plays to see those accomplished actors/singers/dancers at work and LEARN FROM THEM. I think this strange thing we are all living is making us all take a good look at our lives and what we want it to be. DO THAT. Think and visualize your wants and wishes. Make a plan for how you are going to get there. Look at what would have been done in theatres this coming season and pick the part you would like to play and learn it. And then believe that when things get back to normal you will be all ready to go to walk in and audition for that part and get it. 7. I’ve spoken with some individuals who believe that online streaming and YouTube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I truly hope this is not the new normal but hey, it’s better than nothing……just like ZOOM is not as good as being face to face in person but you at least get to see each other and talk. I don’t think we can compare the experience of watching from your home on your laptop and sitting in a theatre with hundreds of breathing humans sitting next to each other. I will assume (call me crazy) that online streaming will not be the way of the future for theatre but rather the reason for a heightened, renewed appreciation of sitting in a theatre to see something LIVE!!!! 8. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? Remembering the feeling of sitting in a theatre - that moment - the best moment of all - when the lights start to dim and you think “I have no idea what I am about to see, hear, feel” and then the show starts……..I convince myself that I will feel that again and that I will be on the stage again reminding myself that people sitting in the audience are feeling that very same sense of anticipation I feel when I am in a seat and not on stage. The concrete thing that is energizing me is a project I am working on with Joe and our friend Diane. We have had an idea for a musical for a couple of years. I work well under pressure. I like deadlines. I have neither so we have promised ourselves that we will have something to show for all this down time. It is difficult to feel highly motivated to work I will admit. It is constantly shocking to me how the days fly by……how is it 4pm already??? Where does the time go? How did I do everything I did before???? And with so little to do how the hell is it that I am finding it difficult to sit down and work/write/think?? It is the challenge of this bizarre time so to help that we are managing weekly work sessions in person in a big space (thanks to Diane) and that is making all the difference. For a couple of hours, it feels almost like regular life and we all agree that it does re-charge the creative brain. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Abandon 2. What is your least favourite word? Intolerance 3. What turns you on? Fantastic food/wine 4. What turns you off? Apathy 5. What sound or noise do you love? My dog’s tiny barks when he is dreaming 6. What sound or noise bothers you? Angry screaming 7. What is your favourite curse word? Fuck (Oh for fuck’s sake!!!!!) 8. Other than your current profession now, what other profession would you have liked to attempt? Chef (or dog trainer) 9. What profession could you not see yourself doing? Gynecologist 10.If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Tasting Menu with your husband through Door 1, and when you are done the orchestra is waiting through Door 2 with the chart of THE MAN THAT GOT AWAY.” To learn more about Louise, visit her website www.louisepitre.com . Previous Next Profiles Richard Lam Back Richard Lam Looking Ahead David Leyes Joe Szekeres Richard Lam has been one busy guy these last few weeks. I saw his work in a terrific production of Bad Hats’ Theatre production of ‘Alice in Wonderland’ presented by Soulpepper. I really enjoyed the production because the use of the technology enhanced the visual presentation of this iconic story. Hopefully, Soulpepper still has the production on its website that you can access, especially if you are an educator. Richard’s biography is also impressive. From Bad Hats’ Theatre website, “[Richard] is a Toronto-based Actor, Writer, Musician, and Sound Designer. Originally from Vancouver, Richard obtained his B.A. in Political Science at UBC before training in the BFA in Acting program at the University of Alberta. He was a company member at Soulpepper Theatre for four years, where he trained at the Soulpepper Academy in a split actor/musician stream under Director of Music Mike Ross. At Soulpepper, he appeared in 15 stage productions and concerts, and joined the company on tours to the Charlottetown Festival and Off-Broadway in New York City. He has also worked for many other theatres across Canada, including the Citadel Theatre, Canadian Stage, Coal Mine Theatre, Buddies in Bad Times, and Outside the March. In 2019, Richard wrote, performed, and composed music for his first original play, ‘The Little Prince: Reimagined’, and received Dora Award nominations for Outstanding New Play and Outstanding Performance. He is the guitarist in the band James King and the Midnight Hours (@jk12hr), and recently released his own home-recorded pandemic EP Hard Rain: A Mixtape Cabaret.” Richard is also an Ontario Councillor for Canadian Actors’ Equity Association. We conducted our interview through Zoom. Thanks again for your time, Richard: 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. It’s kind of like everything was thrown on its head completely. I feel like the world I know doesn’t exist anymore, or it’s covered in moss. I’m sure many people you’ve talked to have said the same thing. I was really used to a pace and a rhythm of my years, my kind of world, my career, auditioning for stuff, doing stuff, thinking ahead to what’s coming next (in 18 months). And then all of a sudden to have that completely go to zero, everything seems like it’s up for discussion now in a way that’s really, really fascinating. Some of that is really good. It’s been really refreshing to be able to spend some time with myself and to explore different stuff. I know a lot of people who have wondered about their relationship with theatre in this time because it can be a tough life and a tough career. There are aspects of it that definitely take their toll. For me, it’s been really refreshing to say, “Oh, no. I miss it. I want to do it again really badly.” I’m ready for it to come back when it does come back, and, in the meantime, I’ve pondering all the ways that I can plant seeds that will hopefully poke their way above the earth when the time is right. It’s been a little bit of everything. 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, if anything, I have a newfound appreciation, not that I didn’t have it before, but a newfound appreciation for how much we need people. We need people who aren’t us so badly who want to come and gather, sit together and have that experience together. The health of our industry and the ability of our industry to be relevant and important to our country and our society really depends on people having the time and energy, and feeling safe to sit together, be together and to have those experiences in leaving home, the safe nest that’s acquired a different power in Covid than it did before. But even before the industry was fighting against Netflix, getting takeout, and spending a night at home. The industry is nothing without people. Film and tv have been rolling along just fine but the theatre industry is in a complete standstill because we really need everyone else to want to leave their houses and sit have an experience. It’s a very simple thing, that’s the heart of it at the end of the day. Doing ‘Alice in Wonderland’ where we did get to have the creative aspect, the process, and that was so welcome, and I miss that so much. Knowing that the audience was never coming was strange, and I really miss that because it really changes everything. You can spend all your time in the rehearsal hall putting the show together, but once the audience is in the room with you, you learn so much about the show so quickly that it takes on its real identity. I felt like it was so close and yet so far. There was so much joy in making ‘Alice in Wonderland’ that we’re not back yet. The people are missing. As a professional artist, what are you missing the most about the live theatre industry? Along with the people I’m missing, I miss my community. I really did take it for granted how many people who were my friends and colleagues whom I adore and respect were in my life. We don’t make a coffee date and hang out as much as we should. But we see each other pretty regularly at a show, or we end up at the same bar after a show, and they’re talking about the show they saw, and I’m talking about the show I saw. The number of little networks of connections made it feel like we were part of a real group of people, a real functional community. I miss that a lot. I miss running into people and hearing about what people are up to, their lives in the lobby or wherever we end up running into each other. That’s the thing that has been really lacking from my life. My circle of humans used to be so big, and I loved that. And now it’s very small and it’s strange. 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? You know what, I did say it was my community, but if I’m honestly going to be 100% real with you, it’s so simple, - it’s BREATHING. When we were rehearsing ‘Alice in Wonderland’ we had masks on for three weeks. Finally, once everyone got a Covid test (the whole cast and production team), it was masks off and we could finally start performing. Yes, we still had the plexiglass. Honestly, rehearsing the show with the mask on, learning choreography, singing, even just speaking with projection, Jacob Macinnis who was in the show defined it as “We’re training at altitude” like athletes on a mountain. It was so hard to breathe. When I finally got to remove the mask, I was, “Oh, I’m not out of shape and I haven’t forgotten how to sing and speak without my mask.” (Richard laughs) I’ll never take breathing for granted ever again. It seems like a mundane thing to say, but it was like night and day when we had the masks off during final rehearsals. Describe one element you hope has changed concerning the live theatre industry. I hope that people really value what we have, and value how special this industry is and this work we get to do. I do feel there’s equal parts magic and reality sometimes in the theatre. And when you’re in the thick of it, it’s easy to get stuck on the reality; it’s easy to get detailed focus; it’s easy to get career focussed on the how much money you’re going to make and to spend and how the show’s going. It’s hard to step back and just realize what a beautiful thing it is to gather everyone and have these experiences and make this work. I don’t think anyone will ever lose sight of that at least for a generation. I’ve been teaching at Sheridan College and a little bit at Randolph for the last year all on Zoom. It’s been really humbling and a great reminder for me to see these students who are about to graduate or part way through their programs who still want to do theatre so badly that they’re slugging it out online for dozens of hours a week. Some of my students have 54 hours of class online a week; they’ve set up dance spaces in their home so they can dance on Zoom. They’re doing their singing and acting lessons all over Zoom, and they still want to make theatre and are still excited by it It was hard on them, but when these young people finally get the chance to enter the profession, which will be a little delayed from when it should be, the appreciation and joy these students will take from being able to do it finally is going to change all of us. And I hope all of us are changed in that way too. Explain what specifically you believe you must still accomplish within this industry as an artist. Ooooo…what a question! I really do think that I am still searching to realize my potential as an artist. I’m a bit of a ‘jack of all trades’, or at least now, thankfully, that I’m getting a bit more experience that I’m a ‘jack of some trades’ and not ‘all of them’ anymore and trying to narrow them down to just a few. Instead of every possible door being opened, now there’s just several. I am getting better at all of those things. I’m a musician, an actor, a writer. I have a lot of different hats I’ve worn at different times, and I really like all those things. For me, my happy place is balancing them all together and treating them all equally or making sure they all get to have their space. For me, I feel like I’m learning slower than I would if I had one thing because there’s just more things to keep track of, but I am learning and I am getting better. I just want to harmonize all those things together as well as I can and get as good as I can and treat them seriously. I know I’m not close to the tip of the iceberg yet; maybe I’m on the tip in using this confusing metaphor, but I know there’s a point that all the unique things I do can sit together and make me an artist that is different from anyone else. I am really looking forward to feeling like I’ve mastered whatever that balance is. I’m not quite there yet but I’m working at it. 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. A few months ago, The Musical Stage Company compiled a survey of audience members with a bunch of questions actually similar to this. One of them on a scale of one to ten was how much do you want to see work which addresses this time of Covid. I was ZERO on the scale. Give me ‘Cats’ or ‘Phantom of the Opera’ instead. Give me ‘The Buddy Holly Story’, that’s where I’ll be. I want to see the lightest thing possible for at least two years, and then maybe I’ll be able to handle something surrounding Covid. But right now, I just want to celebrate moving through this time of Covid. Maybe I could handle something a little more indirect. Everyone has had such a life changing monumental experience in Covid. Every single person, on earth, Covid has become one of the life defining moments of this period of their lives and who they are, no matter how old you are or how much history you’ve lived through. This is one of the chapters of our lives. And so, I feel as if all us had a wild, first hand experience with this. It would be nice not to have to be reminded of this at the theatre for awhile. As an artist, what specifically is it about your work that you would like future audiences to remember about you? What a great question. The thing that I always think of the most, no matter what I’m doing whether I’m writing music, writing a play or acting is surprises. That’s the thing I think about a lot when I’m crafting something . Once I feel like I understand what the story is and zeroing in on the performance, I start thinking, okay, where am I going to surprise them. Where is the moment that I’m going to give something to the audience they don’t expect? And they’ll draw in a collective breath. That’s what I really enjoy doing. And that’s what makes the theatre so awesome is those moments where you really surprise somebody. And they can be simple. I remember being in ‘Of Human Bondage’ at Soulpepper several years ago. There was this great moment that was so small, but I lived for it watching it every night. All of the sound effects were created by the actors on the stage. There was a moment where an actor walked up and saw another actor through a window. The first actor knocked on thin air and the other actor knocked on a glass vase at the same time. People gasped every night because it worked so well. Nobody expected it, and for that one second it was a real window. And I loved that moment so much because people didn’t see it coming. I always think of little things like that. I hope I’ve showed some people little surprises and things like that they didn’t expect, and that it was delightful. To follow Richard on Instagram: @rickyslams Previous Next Profiles Kyle Brown Back Kyle Brown Moving Forward Andrew Seok Joe Szekeres 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. Previous Next Profiles Andy Massingham Back Andy Massingham “The moments you spend with other artists, whether over coffee or sitting in a rehearsal hall, you sponge everything you can. The minute you start doing that, you extend your own language.” Self portrait Joe Szekeres Dora Award-winning actor, director, choreographer, educator and playwright Andy Massingham is upfront, personable, witty, and knowledgeable. He loves criticism although he doesn’t read reviews. What brought him to this realization? Actors cannot sit in an audience without doing the same thing – critiquing and talking about the work of others. He knows his stuff and what he wants when directing for the theatre. He shared a thought that all directors have probably felt: “As a director, the heartbreak of opening night is one of the deepest heartbreaks because you know that it’s over and the actors are going to go.” Massingham is currently directing ‘The Complete Works of William Shakespeare’ (Abridged) (Revised) (Again) for Port Perry’s Theatre on the Ridge (TOTR), which will close out its 2024 season. A comedy encompassing Shakespeare’s 37 plays in two hours, he feels it’s a nice way to close out the summer season. How did Andy hear about Port Perry’s Theatre on the Ridge? The company’s Artistic Director, Carey Nicholson, took a course Massingham was teaching through his long-standing association with Toronto’s Tarragon Theatre. For the last 5-10 years, Andy has been doing weekend physical theatre workshops focusing on no dialogue, structure, and physical stories using clowns and various elements. The workshops mainly involve putting a show together without dialogue. Massingham and Carey hit it off at that workshop: “When she walked in, I didn’t know who she was. By the end of the weekend, she said she would love to talk to me about Theatre on the Ridge. The next year, I came out and did exactly that. We formed a one-hour theatre piece that was purely physical.” Andy salutes Carey because she understands what he is doing regarding physical theatre. To these other larger companies, like Stratford and Shaw, Andy would describe Theatre on the Ridge as an enclosure that is still open to the elements, which gives actors, directors, and designers a little freedom to throw some stuff out. When you’re going outside, you know there will be unlimited expectations. There’s a big difference in the summer between walking into a theatre and walking outdoors into a theatre. Andy calls Theatre on the Ridge: “A mini-Stratford. If I were to describe [Ridge] to Antoni Cimolino [from Stratford], it’s a small setting under a big top. Intimate work can be done at [Ridge]. Clown work can be done [at Ridge]. It’s within that realm much like commedia dell’arte did over 500 years ago, and the original Stratford Festival did under the first tent many years ago.” Andy says Carey is making bold choices under the usual summer stock realm. As he got to know her, Andy firmly stated that Carey was doing very clever programming. He pointed to this year’s slate—a Kat Sandler play, a musical, and a slapstick ‘Monty Python-like’ version of Shakespeare in one season. That’s a great season because Andy says this selection of plays appeals to everyone. It might be a challenge to bring audience members from Toronto, Drayton, and Stratford to Port Perry, but that’s Andy’s dream. He wants audience members to know that Theatre on the Ridge is only an hour away but come here. It’s accessible. Massingham intends to shine a light on Port Perry. The town is beautiful, and the shows at Theatre on the Ridge are great. Our conversation then veered to where Massingham completed his artist training. His response made it clear his wit is one of his personable qualities: “I haven’t completed it yet. It’s still going on.” We shared a good laugh before he continued. Massingham graduated from George Brown Theatre School in 1985 and studied for two years with Richard Pochinko doing clown. Pochinko was Andy’s clown teacher at George Brown. Massingham has been working with teachers, dancers, and actors since then. Andy calls himself an amateur, but he’s a lover of the form. To continue learning does not necessarily mean to keep taking courses. Andy continues meeting with artists over coffee and talking about things. When he worked at the Stratford Festival, he soaked up everything he could from the legends of working with Brian Bedford and Martha Henry: “I sat in a rehearsal hall with these people and sponged everything I could. Musicians have to keep working with other musicians to keep their skills updated. The minute you start doing that, you extend your own language.” Has Andy realized there is any difference between the theatre companies in downtown Toronto and the theatres in the outlying areas? “Work is work, and I’ve become very pragmatic about it. I go where the work is. I like it. I’m happy seeing a show in a church basement or a hole-in-the-wall, as I am at Festival Theatre.” He has performed on stages across Canada. What is the commonality between them? Everyone wants to hear a story and be entertained. It doesn’t matter where the story is told. Andy recounted how he learned much while touring a clowning show in Northern Ontario. The residents came out to see a show and didn’t care about a resumé or the theatre. They wanted a show. That’s all that matters, whether it’s Shakespeare, clown, modern dance, or jazz. That’s been Massingham’s guiding light. He’s plugged into the next generation of up-and-coming young artists and sees a huge fire coming up in them. On a break, before rehearsals for ‘Complete’ continued, Andy shared his excitement for the show. Rehearsals for this actor-driven piece have been a ‘hoot.’ The text for ‘Complete’ was written for only three people, but five actors are present in the TOTR production. Immediately, they all knew there would be slicing and dicing, and that’s fine with Massingham because he loves re-visioning. The first week of rehearsals saw everyone playing around with the text while the unique personalities of each of the performers shone through. Massingham said the five of them are like the Marx Brothers. They are completely different but have unique things about them. The performers have gelled through the rehearsal process. Nicholson afforded an extra week of rehearsal, which Massingham called glorious. He says the actors are ready for an audience, terrified but ready, which is a good way to be. It’s show business. He greatly encourages these five actors; They should all be working in the business now: “Stratford. Hire these actors. These are solid, fantastic emerging artists.” I have heard that the study of Shakespeare’s plays should either be removed or significantly curtailed. Massingham’s response to that kind of thinking. He says he won’t get angry about it, but that’s a stupid idea and: “I’ll never stop teaching it, and I don’t care what they say. That’s it. That’s inflammatory talk, and I don’t believe it at all.” He then made a valid comment: “If you’re studying music at Julliard in New York City and the decision is made to cut Mozart or Miles Davis,” doing that would be removing the centered structure of all modern music.” Finally, what’s next for Andy Massingham once ‘Complete Works’ concludes its run? He works at The Toronto Film School. He will be directing a show there in the fall, but he is always on the lookout. He hasn’t acted in over ten years but is looking to get back to it. He’s also starting work on a sequel to 2005’s ‘Rough House,’ a solo show based on the physical theatre and clown. Andy Massingham has been a lifelong lover of the form. He thrives in the classroom with young minds and artists. ‘The Complete Works of William Shakespeare’ previews August 8 and will officially open on August 9. Running until August 24, all performances will take place under the TOTR Tent at the Scugog Shores Museum, 16210 Island Road. For tickets, visit www.theatreontheridge.ca . email: boxoffice@theatreontheridge.ca or call (905) 242-9343. Previous Next Profiles Cynthia Dale Back Cynthia Dale Moving Forward --- Joe Szekeres Let’s count ourselves lucky, Canada, that we have an eloquent and articulate Cynthia Dale who opened her compassionate heart and soul to me in our conversation about how she has been faring during this worldwide pandemic. I remember watching her work on CBC’s ‘Street Legal’ during my undergraduate years, but I had no idea how diverse her stage performance resume was until I reviewed it myself. At the Stratford Festival, I saw her work in a poignant ‘Miracle Worker’ where Cynthia played the tenaciously resolved Annie Sullivan. Ms. Dale was also touching in her portrayal of Maria Rainer in ‘The Sound of Music’. Most recently, I saw her work in an astonishing production of ‘Fun Home’ through the Mirvish series where I freely admitted that I wiped tears from my eyes at the end. Cynthia and I conducted our conversation via Zoom. Thank you so much, Cynthia, for this opportunity and I hope to speak to you in person soon: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears we are slowly emerging to some new way of living. How have you been faring? How has your immediate family been doing during this time? Actually, I don’t feel like we’re emerging at all. I beg to disagree on that. The numbers are horrendous in Ontario today (and Cynthia is correct on this account as the number have been rising the last few days). I feel like on pain of death people will feel like we’re emerging. It’s been an interesting time. I have a low-level rung of anxiety all the time. It’s like a low-grade fever that’s there all the time because I think it’s just there in the world. There’s no doubt that in the beginning there was an overwhelming amount of sadness and fear, and I don’t have the same amount of that anxiety, fear and sadness as I had. I still have incredible caution. I’m also not a fan of the term ‘new normal’. I don’t know what that means. We will never go back to the way life was, I don’t think. It will just be different. As far as the industry I’m in, I understand there are film and tv productions and things getting back and filming, but under such incredible circumstances. Theatre has not gone back and cannot go back, and it will be so long before that can happen, and this makes me incredibly sad. The term ‘new normal’ is a sugar coating and fake. If this has taught us anything, it’s to be incredibly honest in every single situation with every single person at every moment because there’s no time left. For years, we’ve heard use the good china, burn the good candles…people, what are you waiting for? Do it now, honey, c’mon, enough already. As a performer, what has been the most difficult and challenging for you professionally and personally? Well, I guess they sort of bleed together because the most challenging thing for me was to sing again, in fact. I couldn’t sing. I lost my voice. My heart, I couldn’t sing. I was too sad. I was too in fear. I locked it all down and I didn’t sing for five, six months. I had no real desire to do it. I don’t sing just for the sake of singing as there’s a goal in mind. I didn’t have a thing I was working towards because ‘towards’ was just a big question mark. Koerner Hall wasn’t going to happen so I didn’t have to work on those. And so, personally it was just all I could do to open my eyes every morning, thank God for the day, thank God for my health and go from there. That was it. It was a matter of putting one foot in front of the other, and all I could plan was what was for dinner, that’s all. That’s the only plan that could happen for thousands, millions of people. We couldn’t plan anything else. It was just a matter of taking care of yourself, taking care of your family, and just getting through. That morphs and changes and you plant flowers, you help move your son into his own apartment and all those things, and life goes on. And I started to sing again, thank God, in August. But it was an interesting process. People would send notes on Twitter, other singers would comment and say, “I tried to sing today and all I could do was sob.” And that’s what was happening. I sobbed every day for four months, like everybody in the world. People just cried, a lot. And it wasn’t about feeling sorry for myself, it was just a matter of this is all really hard what’s going on in the world. And if you are at all an empath and feel what’s going on in the world, you are aware of it. I knew everybody was having the same problem I was having. So many other singers and people were having the same problem, so I didn’t feel weird or awed. I actually felt there was a great group of us around the globe feeling like this or that. And slowly, slowly, slowly, I listened to my body, I listened to my spirit, l listened to my heart, and I knew I would sing again at some point, but I didn’t push it. I didn’t have to because there was no gig coming up. And when the possibility of something coming up, I started to sing again. I wasn’t different from so many performers, really. I have friends who are on Broadway, friends who are in shows in Toronto, and they literally walked out of their dressing room one night, and their stuff is still sitting in their dressing room. It’s like everything is frozen in so many areas of the world. People who left their offices back in March, their desks are still exactly as they were, the coffee mug, the pictures of the family, the ‘to do’ pile. People didn’t know how long this was going to last or that this was going to happen. I wasn’t different from everybody else. Everybody is still feeling this and I’m not ashamed to say it’s been really hard. The richness of my garden and family and cooking, (and thank God I love to cook), all of that, my goodness what would we do without it? Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I wasn’t actually filming or rehearsing anything, but I was supposed to be doing a production of ‘Follies’ this fall in October at Koerner Hall, a concert version. That was in the world, in my psyche and in my body in thinking about it, rehearse, learn the music. That inevitably got stopped. I had a few other music concerts and gigs to sing at but other than that, no. What have you been doing to keep yourself busy during this time? I walk a lot but Peter (Mansbridge, retired newscaster from CBC) and I don’t walk together. We walk in our own spaces, listen to our own audio books. I paint, I love to paint and that for sure got me through the first eight weeks. I painted a lot. I’ve always been a big reader. I read a lot. Binge watcher of TV and goodness knows I’ve watched a lot more now than I have before. We all sort of do what we do, to keep busy, happy and fulfilled. I’m loving singing right now and that’s a good thing. The singing is just for me right now. It’s a funny time, isn’t it? Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Even before all this whenever I’ve mentored, taught, lectured, I’ve always said to theatre students, “Get a Business Degree”. You are a business! You are a business and you’re going to have to know how to pay your agent, pay your taxes, maybe start a theatre company, pay a publicist. Do all those things and you need to have that ability. It’s great you can do a triple time step, that’s wonderful; it’s great that you can sing a high C and know five Shakespeare monologues, but you also need to know the nuts and bolts, and that has absolutely nothing to do with you may want to do something else in life, or you should have a back up plan. I don’t believe that it’s not about that, at all. You, yourself, are the backup plan, and so you need to fill up yourself with knowledge and with stuff that gives you opportunities because you may turn 40 and get sick and tired of having $350 in the bank which is what a lot of actors and performers have. You don’t go into this industry for money. If you’re lucky and click on TV or film, you might make some money, but you need to know more. And so, I would say to anyone even before Covid and the pandemic. Now, I say it even more. I have friends who are the leading players in some of the top shows in the city who are working now at the liquor store. They have to pay the bills. These people were making top dollar in the theatre, one of the most coveted jobs in the theatre scene, and they have to do something else now. There’s nothing wrong with that. It’s a noble thing to pay your bills. You need to be able to diversify. In our parents’ generation, they did one thing – teachers, plumbers, accountants. They did one thing, hit retirement and that was it. Now, young people do this, and they do that. It’s not an either or. They can be incredible photographers and have a great career and take 8X10 photographs for headshots, and they’re kick ass dancers and singers and work all the time at the Stratford Festival. People do lots of things – they have a web design company during the day and work at night on Broadway. Younger people do more things and different careers. They don’t do one career for 30 years anymore like our parents did. It’s a different thing. If you’re 21 and coming out of theatre school, I might say, “You may not want to do this in twenty years time, or ten years. You may, as it’s a calling and there’s no doubt about it, but that doesn’t mean you don’t have to stop any passion you have for something else. It doesn’t lessen your ability to be an actor or a singer or a dancer. It enhances it. It fills you up more.” I guess that’s what I would say. Do you see anything positive stemming from this pandemic? (with a slight laugh) Yes, sometimes, the question is, ‘Does it outweigh the negatives in my mind?’ Staycations instead of travelling. Lots of things, but the question to me is does it outweigh. I’m not a negative, downer type of person so I can’t live in the place of it’s all that. I have to believe the good that will come out of this will outweigh the bad. It’s really hard to think of that though with all of the people who have died, all the people who have lost someone. It’s really hard to believe that the good could ever outweigh it. I’m a keener, a Pollyanna, but it’s really hard to believe in the face of the sadness. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? Devastating. Absolutely devastating. I can’t imagine how some of these larger theatres are going to continue. Just North America alone…Think of the touring companies. How do you do that? How do you entice people back? I don’t see how you entice people back into a theatre until there’s a vaccine, and a safe vaccine at that. I can’t imagine people wanting to sit beside someone. It’s one thing to get on an airplane and sit beside someone to travel across the pond. Yes, it’s longer than a two- or three-hour theatre show. I don’t want to sit in the theatre and wear a hazmat suit. I don’t want to sit in a theatre and think my two or three hours of potential enjoyment are at the cost of potentially getting sick or getting someone else sick. It’s the opposite of the enjoyment and the magic of theatre. I don’t want to sing in fear. I can’t sing in fear. I can’t sing afraid. And singing is one of the worst things for transmitting it, right? And so, I don’t want to sing or be in an environment where someone could get sick or I could get sick or bring it home to my loved ones. I think it’s going to be a long time. I think there will be shows that were up and running that won’t be running again be that in Toronto or definitely on Broadway. It’s almost a given in the West End. Just this week Andrew Lloyd Webber came out again and said some of his shows just won’t come back that were playing. It’s going to be years and years before recovery. I think of those school touring programs. They seem so small but they’re so important. How do you get them back? For some kids, that’s their first inkling of theatre. That spark, when they lie their head on their pillow and think, “My God, something changed in me today.” Or they sit at the dining room table over dinner and tell their parents, “Please, I want to take a dance class, or I want to learn to play the saxophone.” This ripple effect has stopped-there will be none of that. My dearest friend is a Grade 8 teacher and all those extra things like band practices, choir, stuff related to the arts has just stopped. Those kinds of things are truly heartbreaking to me. That’s a black hole that’s going to be felt for so long, the missed opportunity of inspiring a kid to be in the arts. That’s gonna happen and we won’t feel it for 10 or 15 years. That breaks my heart. I always felt the most important time at The Stratford Festival was the fall season when all the school groups arrived to watch a play. This is the audience of tomorrow. These are the ones who will keep coming to Stratford and keep the Stratford Festival alive when I’m long gone. They’ll be here, they’ll be bringing their kids here. Those audiences, those shows, gone. That breaks my heart. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? No, it’s not really my thing. In the beginning, the first six, eight weeks, I co-hosted a show with Tom Jackson called ‘Almighty Voices’ that was singers. Tom kept asking me to sing, and I said, “Tom, I can’t sing but I’ll co-host with you.” Once, in honour of someone who had passed, a group of us sang ‘Amazing Grace’. But other than that, it’s not my thing. I don’t play an instrument. I can’t accompany myself. It’s too hard figuring out how to link me with the orchestra in Edmonton which were all options. I’ve watched some live stream shows. I don’t count watching ‘Hamilton’ when it played. It wasn’t a live streamed show, it was a filmed version and I could watch that every single day for the rest of my life. It’s not my favourite way to watch. It’s a different thing. It’s not theatre. There’s nothing wrong with watching television or going to the cinema, but it’s not theatre. (Cynthia then links her fingers together) Theatre is here (left fingers), the audience is here (right fingers) and the magic is in between the two. It’s what happens right there. It’s in the ether. It’s ‘that’ thing called ‘it’, and ‘it’ doesn’t come across on film or in television. It’s a different thing and thank God it is. You can’t describe it. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? (pause) You’re going to make me cry…(pauses)… It’s a funny thing, I turned 60 this year and I don’t have the same ambition as I’ve had for the last 45 years of my life. And I’m aware of that in my body. It’s changed, it’s morphed. I don’t feel like I’m done yet, but I don’t feel like “It’s the be all or end all” or “I have to be performing.” Believe me, I’ve asked myself this question many times as I sit up here in my little office. This is where I sing. I check in – what is it…it’s not about the vocal cords because singing for me is so much more than the vocal cords. Where is it in my body that I still love to perform or still feel like I want to? I did a show called ‘Fun Home’ in Toronto (side note: I saw it and cried at the end). I found it interesting at that point in my life I was more nervous (almost sick) for the opening night of ‘Fun Home’ than I was the ten years of opening nights at the Stratford Festival. It didn’t matter. I found it interesting and I think about it and why was it that particular opening night of ‘Fun Home’. That show cost a lot to do and to live, and all of us paid for it every night but happily to pay it. I’m prepared to pay it still. I don’t have to pay it as often as I used to do. It’s not because I don’t want to as I’m still prepared to do that and give that. Thank God, that’s come to me because there aren’t a lot of parts for 60-year-old broads, that many that you really, really want to do. And so, if I was in a corner, crying because I wasn’t working that’s different but I’m not. I’m fine with it. I just now know when I sing now there’s something that vibrates that still feels good. It’s like taking my B12s in the morning, another vitamin in my body, another something which still reminds me, “I’m not finished yet.” We’re in the process of building a house in Scotland and I may be spending a lot of time over there in my life. If I’m desperate to sing, I’ll go sing in a pub, I don’t know what I’ll do. I’ll go sing in the Highlands somewhere because that vibration is something that I still need. To learn more about Cynthia Dale, visit her website: www.cynthiadale.com . Previous Next Dramas 'Three Ordinary Men' by Steven Elliott Jackson Back 'Three Ordinary Men' by Steven Elliott Jackson A Cahoots Theatre Production Michael Yaneff, Foreshots Photography Joe Szekeres Sometimes in the ‘Ordinary’, we find the ‘Extraordinary’. Such is the case with this premiere of ‘Three Ordinary Men’ As I exited The Theatre Centre opening night, I felt tears welling in my eyes in thinking further about playwright Steven Elliott Jackson’s extremely moving premiere of ‘Three Ordinary Men’. From a quick bit of online research, the film ‘Mississippi Burning’ is loosely based on the murders of three men and the FBI investigation. I’ve never seen this film, but now that I’ve experienced Jackson’s script, I will give the film a look. Directed with tremendous respect and extraordinary dignity by Cahoots’ Artistic Director Tanisha Taitt, ‘Three Ordinary Men’ remains a sobering tale of Michael Schwerner (Tristan Claxton), James Chaney (Jamar Adams-Thompson) and Andrew Goodman (Jack Copland). They were abducted and murdered in Mississippi in June 1964 during the Civil Rights Movement. These men were working with the Freedom Summer campaign by attempting to register African Americans in Mississippi to vote as Blacks in the state had been restricted from voting since the turn of the century due to barriers to voter registration and other laws. When I interviewed playwright Jackson a few weeks ago about his script, he commented his research detailed a horrible time in the aftermath of the murders. He wanted to know more about who these men were and what made them want to change the world in the way they were doing it. Thankfully, some humourous moments relieve the building plot intensity, but ‘Three Ordinary Men’ is not a proverbial comedy at all. Instead, much like some Shakespearean tragedies, Jackson prepares us for the inevitable that is going to occur since we know these men are moving towards their death. Jackson asks a good question: “Do we have that same kind of energy now that these characters exude in the play?” I will answer this at the end. The first thing that stood out to me was Tanisha Taitt’s simplistic set design which created a vivid picture in my mind of this area of Mississippi. There is a sunken floor on which four boxes illuminate lights throughout the production. One box is situated upstage right, two boxes are up from centre stage and one box is stage left. On the back wall is a torn scrim on which appears the burning of a church which ultimately burns to ashes before our eyes during the preshow. This image of the burning church is of importance to the events within the story. There is a closed captioning screen on stage right with the dialogue on display for audience members who require it. Christopher-Elizabeth’s pre-show soundscape is highly appropriate. Thankfully it’s not overpowering but it made me pay careful attention as to what I was hearing in a range from spiritual songs to fire burning to the sound of crowds. As the production moves forward, the sound design remained clearly sharp. At one point, the sound of a car being forcefully bumped from behind which made me jump in my chair since I had just experienced a car accident a few weeks ago of the same nature. Shawn Henry’s Projection Designs are grim reminders of the racial tensions. I was five years of age during this time, but Henry’s projections still make me think about just how horrendously awful this time and era were and as Taitt so aptly states in the Programme Director’s Note: “It is a terrifying, gut-wrenching prospect.” Claudia Tam’s costumes nicely reflected the mid-60s era as the short-sleeved t-shirts the men wore were reminders of the literal and figurative heat of the day and the time. The performances remain consistently strong as Messrs. Claxton, Adams-Thompson and Copland solidly and emotionally demonstrated what it means to work as a true ensemble. There were moments when I sat forward in my chair as I was riveted by the engrossing plot unfolding in front of me. A quick look around at other audience members and I noticed several of them were doing the exact same thing as I did. There are some excellent monologues delivered so movingly. If actors are looking to update their repertoire of monologues for future auditions, I would strongly recommend looking at Jackson’s script. On a side note here, I wanted to acknowledge how much justice Jackson has paid to this story and these three characters. In that same vein, I also wanted to pay justice at one point to something mentioned in the script regarding Harper Lee's 'To Kill A Mockingbird'. At one point, the character Tom Robinson is accused of rape by a young woman. Jackson's script refers to the character of Luella whereas, in Miss Lee's novel, the character's name is Mayella. I'm sure this will be changed in future revisions. Since I've taught the novel to young people for over 30 years, I wanted to make sure that point of reference is fixed. As the ‘leader’ of the trio on account of his ‘goatee’ (you’ll understand the connection in seeing the story), Tristan Claxton’s Michael Schwerner commands the stage confidently when he enters at the top of the show and begins his story of how everything began. Jamar Adams-Thompson’s James Chaney assuredly becomes that voice of rational and clear-headed thinking initially, but I’m going to try not to spoil the conclusion. Jamar’s work in that final scene remains powerfully grounded and honestly realistic. As the youngest of the trio who also receives some of the teasing and ribbing from Michael and James, Jack Copland believably and heartfully responds to the stark reality of Andrew Goodman in recognizing how dangerous this situation truly is. Final Comments: Once again, Tanisha Taitt makes another comment in the Programme that I find interesting: ‘This story reminds us that there are those who will walk into the lion’s den for another, and those who reside there permanently.” In a historical literary sense, his theme is familiar to Robert Bolt’s ‘A Man for All Seasons’, a play I used to like teaching to high school students. Although Sir Thomas More was not certainly an ordinary man as he enjoyed favour with King Henry VIII, More too walked into the lion’s den and resided there permanently as he would not place his sovereign king before the rule of God. For this belief, More was assassinated and became a martyr. Going back to Jackson’s question I posted earlier if we have that same kind of energy now that Schwerner, Chaney and Goodman exude in the play. As a practicing Catholic, I do believe so. Seven days ago, 40 people were killed and 61 injured in a Catholic Church massacre by a possible suspect insurgent group The Islamic State West Africa Province (ISWAP). Those murdered and injured walked into the lion’s den and were in the presence of God when they lost their lives. Jackson hoped he did justice to the story of these ‘Three Ordinary Men’ because he avows this is what they deserve. Jackson has dutifully succeeded. ‘Three Ordinary Men’ is one not to be missed. Running Time: approximately 70 minutes. Covid protocols are in effect at the theatre as of the publication of this article. I felt very safe and comfortable in the auditorium. ‘Three Ordinary Men’ runs to June 26, 2022, in The Incubator at The Theatre Centre, 1115 Queen Street West, Toronto. Tickets are available @theatrecentre.org or call the Box Office 416-538-0988. THREE ORDINARY MEN by Steven Elliott Jackson Producer: Lisa Alves Production Manager: Maya Royer Lighting & Projection Designer: Shawn Henry Sound Designer: Christopher-Elizabeth Costume & Prop Designer: Claudia Tam Stage Manager: Lily Chan Lighting & Projection Assistant: Michael Fillier Dramaturge/Set Design: Tanisha Taitt Intern Producer: Tiffany Ledesma Captions Operator: Caitlin Farley Production Assistant: Jillian Cooper Performers: Jamar Adams-Thompson, Tristan Claxton, Jack Copland Director: Tanisha Taitt Previous Next Profiles Esie Mensah Back Esie Mensah Looking Ahead Mikka Gia Joe Szekeres A recent conversation with Dora nominated choreographer and dance artist Esie Mensah certainly opened my eyes to what is occurring in the world of the professional performing artist especially in moving forward to ensure inclusion, equity, and diversity of and for all members. June 1 will mark two important dates – the first is the premiere of the upcoming short film ‘Tessel’, commissioned by Fall for Dance North and Harbourfront Centre. National in scope, this short film features 14 Black dancemakers from across Canada in a crucial conversation on what it means to be an artist in this unprecedented historical time. The second marked importance for June 1 is the one-year anniversary of ‘Blackout Tuesday’ where organizations around the globe publicly committed to institutional change to help the Black community. ‘Tessel’ was conceptualized and directed by Esie Mensah, so I felt it was important to highlight the prolific work of what she has captured. I was quickly introduced to her work through a CBC Arts Segment on her work as a choreographer and dancer, but it was her TED Talk “My Skin was too dark for my profession, so I changed the story” which caught my attention: https://www.youtube.com/watch?v=dgGQv4efnI8 To begin our conversation, Esie let me know her immediate family has been doing well and in her words: “So far, so good.” They haven’t been hit too hard, but she is sadly and consciously aware how this medical epidemic has affected each of us in some way. Her family are healthy and when it has been allowed, they have been able to see each other on different occasions when they could. At one point during our conversation, Esie re-iterated what many of us are hoping – we “keep looking to the horizon where it feels safe for everybody, but we’ll see how things go the next few months…even years.” Such true words spoken. Just like many artists to whom I’ve spoken throughout this pandemic series, Esie’s professional world also came to a halt as many of her upcoming projects or solo works were either cancelled or postponed to who knows when. And like many of the artists, Esie felt it was a really good question in asking her what she has missed the most about performance during the lock down. She paused for a few moments before she responded. To dance is her first love, and what does she miss the most: “There’s a feeling that you get when you’re on stage live…because I’ve been choreographing so much, I wasn’t always performing and dancing, but there’s that synergy, that energy you get when you’re either creating in a room with people or you’re on-stage dancing with people and the audience is receiving you. The faces to me are such an invigorating and affirming experience as a dancer.“ I was grateful how Esie felt comfortable in speaking about the TED Talk and how her skin was ‘too dark’ for her profession, so she changed the narrative to keep moving forward. She spoke candidly about some of the limitations she encountered early in her career: “I attended George Brown College for the Commercial Dance Programme. That first year I came out of school, I felt the doors opened up and I experienced what I thought the potential of my career could have been. After that first year and over the next two and three years, I realized the reality of the business that I was in as a dark-skinned black woman. What I noticed through the work (since I’ve been in this for so long) was that people place a commodity over dark skin and for whatever reason, they don’t think it’s the same value as somebody with lighter skin.” I’m going to be honest and say that I was rather surprised by Esie’s revelation and I listened intently as she continued: “I had people bluntly tell me that, yes, they think you’re too dark for this music video, and that video was for black artists…when I was applying for a four-month contract in China, same thing, well they really, really love you, but they just think you’re too dark for television…this was the first time I had to contextualize and swallow someone telling me, very candidly, that you’re too dark so we can’t take you. It’s almost as if you could change that one thing the doors would open.” Conversations like this were something Esie said she was used to swallowing, but it wasn’t until giving her TED Talk that this was an issue and real problem. Clearly, this shook the foundation she was on, and it became the catalyst she was on that pushed her to be so good, so amazing, so undeniable that her shade was never be an issue so that people can’t say they want to hire her despite her shade. In other words, I want to hire her because it’s her and that her shade is never an issue. This issue has been a roller coast for Esie as “this issue made me feel very, very small, marginalized or pigeon-holed because of it which, now her skin colour is my superpower.” And as we continued our conversation, I saw how she is a determined and strong woman who took agency in her own hands to carve out her path as a professional artist regarding these limitations of skin colour. What she has done specifically is “to become my own boss, essentially.” I wanted to quote Esie directly for the rest of the questions I asked her because it’s important to read her voice in her own words: How else specifically have you taken charge of your professional artistic journey and path: Becoming my own boss started when I was in the commercial dance scene because I recognize throughout those two to three years where I was waiting for somebody to call me and waiting for somebody to say that I was good enough or if somebody cancelled then I got in for the certain jobs that were coming out, and I was like that I can’t be sitting here waiting for the next job. I want to be in charge of my own life. That was the shift of me in becoming more of a choreographer. As the industry shifted and I shifted, I began more intrigued to tell my own stories and say the things I had experienced, the questions I wanted to have answered or that I wanted to explore through art making, through dance, through theatre. When I was in school at George Brown, I did some acting, but for the amount I’m doing now has just been absorbed through working in theatre. I was really intrigued by it. My first production was a dance play I was writing. That was my first experience in creating my own stories, real true experiences doing work at Harbourfront Centre. Friends of mine were saying I should take this experience and start applying for grants and building my own shows. I was trying to figure out what I wanted to do. My first impulse was to start writing, and I did and started creating stories to ask questions about as a first-generation Ghanaian child, my parents come to Canada, but nobody ever desires to go back. To me, we can’t really be surprised by the fact that our home countries are not progressing because all of the knowledge is now in the diaspora. That was the first set of conversations and that transformed into ‘Shades’, the next thing that happened because of a movie film I had done – I had done the ‘Rocky Horror Picture Show’ remake that had come into Toronto a number of years ago. A friend of mine and I both got the film roles at the audition and we were questioning how many black girls were going to be on the project. There were four of us they seemed to like, and we didn’t think we would get it, and we did. I remember talking to the assistant choreographer. He overhead us at the audition. He quizzed and asked why we would say this, and we told him something like this never happens, having four black girls on a project that are medium to dark toned, never happens. He was shocked and he’s been working in the business for decades. This is a huge conversation about ‘shadeism’, and I know I can’t change everyone’s mind on it but If I can get people to question it, and the ‘why’ behind it, that I think is really important. I am looking forward to seeing ‘Tessel’ Tell me about this short film and why it is so important for you as a person, as an individual and as a professional artist. This short film project was a springboard to everything that has been going on over the past year and beyond. I hit a point last year and recognized as an artist and creator that the space for conversation may not always be there for everybody. When Ilter Ibrahimof from Fall for Dance North called me, he wanted to do something to amplify Black voices. I said, “Great!” Well, if we’re going to do that, I need to bring people together in conversation, and that’s it not just centered in asking people to film themselves and splice something together. I wanted there to be depth and truth. I work as an Artistic advisor, so I’m working in the equity, diversity and inclusion stream that has been popping up over the last year for everybody especially within arts organizations. When I recognized being entrenched in that conversation is that we all have questions, and some people are scared to ask those questions. Some people are scared to step forward with an ignorance to say I don’t know; I didn’t know about your experience; I didn’t know what it was like what you went through. The majority of the artists in the film didn’t know each other which was wonderful, so everybody is meeting new people. The whole group hasn’t met officially yet because some artists came on two different days. Over those two days, we ended up with a seven-hour conversation, and it was so humbling. People needed the space to talk, to chat and knowing people are feeling the same thing I’m feeling and understood my experience. What does it mean now to amplify Black voices? It can mean different things to different people. For me, within my community and my close circle, conversation was the thing that pulled me through last year. I started a group chat with some friends, and it gave us space to have honest, candid conversation. If we’re going to take steps to change, we really need to be more attuned to those conversations and open to hearing the truth of those conversations. For me, giving Black artists a chance to speak and getting our artists to really listen was so important. Now these were the words of only 14 dancers and people We’re not speaking for all the Black community across Canada. We are saying there is a commonality of everyone’s experiences of pain, a heaviness but there’s also a lot of joy and being able to find freedom through movement. Having this conversation and being pushed forward through dance shifts it for people. Talking about racism is never easy but to hear from people and see their bodies move or stillness in looking at the camera, that solicits a response from the audience altogether. We’re starting to see the person behind the skin, behind the artist. We’re seeing the reality and I hope this leaves a lasting impression with the film. How do you see ‘Tessel’ continue to challenge the global discourse on race? With a lot of my work, there’s been that consistency of sparking a conversation. I really want there to be a conversation and want people to feel inspired to come together and discuss. This is the first time we’ve had Canadian dance presenters on one project. This has never happened before, and so I hope everybody continues to understand the urgency and that it takes continual work consistently to open up new doors and allow other people to fill in the gaps that are present. I hope there’s some real honesty and perk up from people. I hope can receive that honesty. Talking is important, but also the listening is far more important. As we slowly emerge from this pandemic and look toward the future, what is it about your work that you would like future audiences to remember about you? Hmmmm… I would hope that future audiences can feel changed from my work, and that it’s an experience. It’s not merely coming in to watch a show or film, it’s an experience they can take with them and it sparks change, a way to care, to love people more, to be more empathetic. I hope my work inspires growth and that the seeds I plant within my work that I hope it continues to flourish in people’s lives. I hope that stays consistent with my work. ‘Tessel’ premieres June 1. Please go to www.harbourfrontcentre.com to learn more how to access the film online. Previous Next Profiles Andre Sills Back Andre Sills Looking Ahead David Cooper Joe Szekeres It was a couple of months before the pandemic hit where I first saw André Sills’ work in what I felt was a daring production of Shakespeare’s ‘Julius Caesar’ at Toronto’s Crow’s Theatre in 2020. I wanted to learn more about his work and was grateful when André participated in a profile series I was compiling at that time on how Equity artists were faring. You can read his profile here: https://bit.ly/3GTG7Dp. During a recent Zoom conversation, I asked him what he would like to say to the Covid/Omicron variant as we approach Year 3 of the pandemic: “Oh, God, I think we’ve had enough. I think we’ve all been traumatized enough. The big ol’ dream of trying to get back to normal? I’m just done with it.” Hopefully, according to the recent news reports, it looks as if the provincial government is done especially with premier Doug Ford reiterating what Sills said. Covid has not destroyed what Andre loves about the live performing arts. Although family time was very important to him as he helped his kids during homeschooling, Sills is glad they are back in school because kids being in person to learn makes all the difference. For Sills, the same thing exists for theatre. Audiences need to be in the seats and seeing the actors on stage with the artists feeling the audience there. It’s part of the experience. A resident artist of ARC (Actors Repertory Company), André is currently in rehearsals as Director with his cast preparing for a March 1 Canadian premiere opening of Branden Jacobs-Jenkins’s ‘Gloria’, an ARC production in association with Toronto’s Crow’s Theatre. Sills has always wanted to direct and had an interest in it for years, but the ‘actor-beast’ in him is always first. For Andre to direct a play, there would have to be something that inspires him so much that doesn’t have something for him in it. That play would have to give him the drive and challenge as if he was in it because that’s the type of theatre he likes to do. Plays that cost something of the actors and something to investigate within themselves is that challenge Sills craves. Sills then backtracks a bit to speak about ‘An Octaroon’ a play written by Jacobs-Jenkins at Shaw Festival. Feeling that experience to be on the inside of ‘An Octaroon’ was of prime importance and then trying to get a hold of the playwrights’ plays wasn’t an easy task. He finally got a copy of ‘Gloria’ but hadn’t read it until ARC was putting together a list of plays to produce. When he finally picked ‘Gloria’ up to read it, Andre felt there wasn’t necessarily anything for him in it, but he could direct it. He pitched it to ARC where everybody read it and loved it. Andre believes ‘Gloria’ is a good fit for ARC because it’s an ensemble piece that requires a strong cast to help tell the story together. The ARC website describes the plot of ‘Gloria’: An ambitious group of editorial assistants at a notorious Manhattan magazine office vie for a starry life of feature articles and book deals, all while the internet is completely upending their industry. When an ordinary humdrum workday becomes anything but, these aspiring journalists recognize an opportunity to seize a career-defining moment. Sills is fine with this play description, but he’s extremely careful about spoiling the plot for all audiences. ‘Gloria’ has been labelled as a satire. It’s the writing, the ‘echoes’, the questions, and the wit that drew Sills to this play and Jacobs-Jenkins’s dialogue is amazing especially from a recall of ‘An Octaroon’. Sills feels that we’re all living in a kind of satire right now. For him he compares ‘Gloria’ to putting up a mirror for ourselves and seeing ourselves through that mirror. Since we all want to get back to theatre, the one thing Andre is encountering right now is a lot of fear in how we take on theatre. He explains how we might be afraid of our audience and of offending them through Shakespeare and up to modern day stories. At the same time, the world isn’t afraid to offend us. So, putting the mirror up is showing ourselves on stage. There’s a line from ‘Gloria’ Sills remembers: “People don’t read magazines for the truth.” Hearing this from a playwright, Sills also hears that people don’t attend the theatre for the truth. It’s time to get back to the truth and stop beating around the bush so much. Jacobs-Jenkins isn’t writing anything to be grotesque in ‘Gloria’ or any of his plays. He has an intent. By working on ‘An Octaroon’ at Shaw and helping with ‘Everybody’ (by Jacobs-Jenkins) at Montréal’s National Theatre School, and then with the satire of ‘Gloria’, the intent has stayed the same in all three plays. There should be no fear in showing the world as it really is while challenging us to be better. I’ll list the cast at the end of this profile, but André continues to tell the artists to continue being bold and brave, and anything that the characters do that the artists might be afraid of, the acting partner needs it for their part to continue. André continues to tell the actors to trust the play as opposed to us judging it. For the journey of ‘Gloria’, the actors have to step into it and do it for their acting partner in order to see where the journey ends. Did the cast have to undergo any preparation before rehearsals began? Andre spoke about something he believes in when he prepares for a role himself. He calls it the building of a foundation. He added that ARC likes to have an ‘open room’ meaning it is a workshop week in November where there is a read through of the play where community collaborators and design team come in regarding themes of whatever the play is about. With reference to ‘Gloria’, a woman from Macleans and Chatelaine came in to explain and share what office life is like, and how people either take care of each other or they don’t within the office. Having this particular reference of what the office climate life was like was valuable to the cast. What’s next for André Sills once ‘Gloria’ is done? I’m hoping there is a Season 2 of ‘Private Idiots’ and was imploring there to be one. If you haven’t seen it, do a You Tube selection. For now ‘Private Idiots’ is on hold, but the aim is to find a way to take these two cops a step further by getting them out of their cars. After ‘Gloria’ opens, André heads to Stratford to step into rehearsals for ‘Richard III’ and ‘All’s Well that Ends Well’ this summer at the Festival where he looks forward to continuing telling the truth on stage. DETAILS: ‘Gloria’ an ARC production in association with Crow’s Theatre runs March 1 – 20 in the Guloien Theatre, 345 Carlaw Avenue, Toronto. For further information and to purchase tickets online, visit www.crowstheatre.com . The Cast: Deborah Drakeford, Carlos Gonzalez-Vio, Jonelle Gunderson, Savion Roach, athena kaitlin trinh, Nabil Traboulsi. Previous Next Profiles Kim Blackwell, Managing Artistic Director 4th Line Theatre Back Kim Blackwell, Managing Artistic Director 4th Line Theatre “The theatre has been in my blood and belly since I was a little kid.” Courtesy of 4th Line Theatre. Joe Szekeres 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. Previous Next Profiles Iain Moggach Back Iain Moggach “If the last few years have taught me anything, me writing these things down and putting them out into the universe is half of the battle. And whether it is me or a successor at the helm, it will happen.” Khaleel Gandhi Joe Szekeres To Barrie, Ontario: you are one lucky city to have Iain Moggach promoting your theatrical artistic community. The youthful-looking Theatre by the Bay’s (TBTB) Artistic Director is one to watch. What’s foremost for him is his commitment to ensure Barrie’s artistic endeavours, especially in the theatre, remain noteworthy. For example, (and according to his website), much of his work with Theatre by the Bay has been on education and training for emerging artists. Since 2020, he has been the lead instructor of the Emerging Director Project, created the Barrie Theatre Lab to support new play development, and he also launched the Simcoe County Theatre Festival to provide a platform for local emerging artists. I was fortunate to have attended the latter a few years ago. Just recently, in 2023, Iain was formally signed to The Talent House, a leading agency in the entertainment industry for over 35 years. This young artist is going places. I firmly believe that. I’ve continued checking in on artists I profiled three years ago when our world changed. The link to my first conversation with Iain is at the bottom of this profile. He and I once again conducted our conversation via email. As a professional artist, he feels very satisfied that things have never been better. He has had the chance to work with incredible artists and directed shows of which he is incredibly proud: ‘The Ghost Watchers,’ ‘A Scandal for All Seasons’ and ‘Icemen.’ While the pandemic has made it harder to get their work out of Barrie, a goal in the plan, the company has been able to do so. There was a production of ‘Mno Bimaadiziwin’ about Indigenous experiences in Orillia at the Orillia Opera House in 2021 (the first indoor theatre production for many of our audience members since the pandemic had started). I did get the chance to see it, and it was worth the trip to Orillia. In partnership with Theatre Collingwood, TBTB brought both of its 2022 full productions to Collingwood and presented Mary of Shanty Bay at the church that the real Mary O’Brien and her family built. Iain can’t speak about his 2024 show yet; however, I am watching for it and will share the title when it becomes available. Iain is also ‘through the woods’ on a book he is adapting and will be able to announce within the next year if everything goes according to plan. Like all of us, though, the last three years have taken its toll even on our hopeful, enterprising young people who have much to give back to the community. I am concerned for these young people as they are the ones who are going to lead us forward into the future. On one side of things, Iain has had a lot of sleepless nights and periods of overwhelming anxiety, despair, and frustration. On the other hand, there is incredible joy, relief, and success, especially in reading about his accomplishments. Moggach recognizes that such considerable fluctuations in emotions as regularly as the last three years have taken their toll on him. He feels like a very different person than he was three years ago. While an eternal optimist, that optimism has been wrung quite dry. He chooses to keep going. That’s admirable, young man, but please never forget that you and your family come first. The Barrie community (and me) want you to enjoy life and the fruits of your labour with your family and community in that respective order. Moggach hasn’t lost his quick wit during these last three years. He shared he had an acting teacher at George Brown who would use making theatre in Barrie as the punchline of a bad joke. He quoted verbatim what the instructor used to say in class: “You can be a great actor, or you can go and do work in Barrie.” Where is this instructor’s professionalism? Ugh!!!!!!!!!!!!! Moggach has something else planned. Instead, his goal is to swap that asinine perspective and have the broader theatre community be excited (and perhaps a bit jealous) about what is going on in Barrie and be amazed by the quality and quantity of work and calibre of artists coming out of the community. Iain also hopes that the artists who live in the community feel like they always have a place in TBTB. It is also hoped that TBTB can provide as many ladders as possible to ensure a place for them at each step of the local theatre community’s journey. What are some areas of growth Moggach still sees for Theatre by The Bay? He recognizes that the most urgent task is to capitalize better on community goodwill and turn it into dollars in its bank account. TBTB also needs to break into the OAC and CCA operating streams – which has never happened before in the company’s 20+ year history. On the artistic side, the theatre has identified gaps in the local community that need to be addressed to keep hiring local artists as high as it would like. Moggach suspects these two things could go hand in hand and lead to the Theatre by the Bay, which he sees clearly in his mind. There is also the hope of bringing TBTB’s work out more broadly. For example, I was highly impressed with ‘Icemen’ in the fall of 2023 and thought how important it would be to bring that production to community centres or stages in smaller regional towns. Moggach mentioned Alliston, for example, and that would be great; however, since I live in the Durham Region, might he consider bringing productions down further south? The same holds true for two other productions I saw that were indeed memorable: ‘Mary of Shanty Bay’ and ‘Bobbie’, which came to my mind. Iain also spoke about possibly bringing these three shows across Canada in the future. He’s just that kind of earnest artistic leader who would and could make this happen. I’ve asked some artists I’ve profiled where they see themselves again in the next five years. Some have chosen not to gaze into that crystal ball as they see no benefit, while others have pondered the future. Moggach was clear on his five-year plan for TBTB and wanted to share the results. Actually, 2024 will mark the end of the plan that started in the fall of 2019. Despite the pandemic, TBTB has been able to achieve many of the goals that it had set out. TBTB is now twice the size that it was in 2019. It launched much-needed community development projects like the Simcoe County Theatre Festival and the local Indie Producer Co-op. The company dramatically increased the diversity of its storytellers and artists. A few things couldn’t be achieved, but the company is fine with those being in the next plan. One day, TBTB should own its own space for workshops and classes, auditions, and rehearsals, for instance, but 2024 is probably not the right time for that. He elaborated further: “There are more pressing priorities than that right now. Looking back, I knew developing the first Five Year Plan would be useful, but I think it spoke things into being - as if by writing our goals down, we made them real.” The growth of TBTB has been remarkable for Moggach. For him, an example that comes to his mind is the Indie Producer Co-op. This program has always been a gem in TBTB’s crown, but it has really come into its own in the last few years. In 2022, thanks to the donation of a local foundation, the Co-op expanded to include a local component to help develop the producers of the future in Simcoe County – a much-needed expansion and support for the ecosystem. And then, in 2023, it was expanded again to become a national program. TBTB had participants from across the country who lived and worked in Barrie for several weeks. They met the community, saw the value and quality of the work first-hand, and are now using their skills to support their communities. It is an incredible achievement and a unique way for TBTB to support theatre across the country. Once again, he clarified his thoughts: “As I think about it, what the expansion of the Co-op exemplifies is how TBTB is growing. On one side, we are bringing our work ‘out’ and getting people from across the country to take notice, while on the other side, we are addressing issues in our local ecosystem to support its growth!” Go to the theatre’s website: www.theatrebythebay.com and check out more of what has been going on in Barrie. There’s exciting stuff. And make sure you say hello to Iain (and even say that Joe sent you). This polite, industrious and personable fellow will put you at ease very quickly as he shares his thoughts about the future of theatre in Barrie. And it’s looking good as far as I’m concerned. Link to Iain’s first profile: https://www.onstageblog.com/profiles/2021/3/22/theatre-conversation-in-a-covid-world-with-theatre-by-the-bays-artistic-director-iain-maggoch?rq=IAIN%20MOGGACH Previous Next Profiles Mitchell Cushman Back Mitchell Cushman Moving Forward Dahlia Katz Joe Szekeres I’ve recognized Mitchell Cushman’s name from several years ago even before I started writing reviews for On Stage. I had heard of the play ‘The Flick’ but had never seen it before. When I saw it at Toronto’s Crow’s Theatre, I was gob smacked at such an outstanding production with nuanced direction by Mitchell combined with three solid performances. Mitchell and I spoke for a few brief seconds about the first time he saw the production in New York City off Broadway. Mitchell is a director, playwright, and founding Artistic Director of Outside the March, one of Canada’s leading immersive theatre companies. His work has been seen on stages as large as the Royal Alexandra Theatre, in spaces as intimate as kindergarten classrooms and living rooms, and in locales as far flung as London, New York, Whitehorse, Edinburgh, Munich, Finland and Japan. Since the beginning of the pandemic, he has been working to explore new possibilities for live performance, co-creating projects like internationally-acclaimed telephonic adventure The Ministry of Mundane Mysteries (OtM), and the “Grand Act of Theatre” Something Bubbled, Something Blue (NAC/TIFT/OtM). In 2015 he and Julie Tepperman co-created the award-winning Brantwood as part of Sheridan College’s CMTP – Canada’s largest exploration of immersive musical theatre. In 2018, he co-created and directed the intercontinental three-day immersive experience, The Curious Voyage. Recent Directing Credits include: The Tape Escape, The Flick, Dr. Silver, Jerusalem, Lessons in Temperament; The Ex-Boyfriend Yard Sale; TomorrowLoveTM (Outside the March); Treasure Island, Breath of Kings, Possible Worlds (Stratford); Hand to God; The Aliens (Coal Mine); Merrily We Roll Along (YES Theatre); Hand to God (RMTC). Mitchell has been the recipient of the Siminovitch protégé award, a Dora Award for Outstanding Direction, three Dora Awards for Outstanding Production, and his productions have received 14 Toronto Theatre Critics Awards. He holds an MFA degree in Directing from the University of Alberta, and a Combined Honours in Theatre and English from the University of King's College and Dalhousie University. What an honour to interview an incredibly talented and down to earth individual. Thank you so much for the Zoom conversation, Mitchell: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m feeling many different things. I’m navigating it first as a member of the community and second as an artist. As a member of the community, it just all feels surreal and there’s such a difference between when this felt new and now the fact it doesn’t feel new any more and feels familiar and more unnerving. One of the things I like about being connected to the theatre community is the extended web of hundreds of people who inspire me whom I’m used to brushing up against on a semi regular basis where we all find ourselves in the same dozen lobbies over the course of a normal year. Relationships take a lot more upkeep right now because there is a happenstance, and you have to plan every interaction. As an independent artist I think people who have been bearing the most brunt of the slowdown of the industry are independent artists and actors, designers and stage managers whose careers are based on stringing together a number of opportunities in order to sustain a living. I feel lucky that my full time is running the theatre company ‘Outside the March’ so I have still have some stability and some structure But the flipside to that is that I feel very, very grateful to be part of the more immediate circle of artists and collaborators many of whom are my closest friends. We’ve all kept each other as sane as possible during the pandemic by finding ways to create and collaborate during this time. The silver lining has been in the maintaining of these creative relationships. How have you been faring? How has your immediate family been doing during these last eight months? My long-time partner of ten years, Amy Keating, and I have been able to spend a lot of time together. In more normal times we both end up travelling a lot for work. This pandemic has been the longest period of time that I’ve spent in Toronto in about ten years. Amy and I have both worked at Stratford but never during the same time, so it’s been great to spend this time with her. Our immediate families are okay. Amy’s are in Edmonton and mine here. Our parents are in the age bracket where they all need to be really careful. I’ve spent a lot of time with my parents over the last eight months and it’s been almost all outdoors. As the weather starts to turn, I think we’re all getting nervous about that. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I would say that the loss of community that I talked about before and also the loss of direct connection with an audience. I’ve worked on a number of projects during this time and a lot was shared digitally or over Zoom live, but there’s no laughter, no applause or feedback mechanism with the audience so you can feel a little more disconnected for whom you’re creating work. What’s also been challenging is the awareness of so much hurt travelling through our world and our community right now exacerbated by the pandemic but also powerful inequities which have further come into the spotlight. You can feel a helplessness in the face of that for sure. I think it’s easy to feel helpless during these times. It’s all intertwined within all this. It’s easy not to feel like you’re in very much control in this industry even in the best of times. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I had six or seven productions that were delayed or fell away that may see the light of day sometime. It makes me grateful when a production like ‘The Flick’ clicked well and came to fruition. ‘The Flick’ was two years in pre-production. It’s an example of a play that has to be shared communally. I was in tech for an immersive production of ‘Sweeney Todd’ that was supposed to go on at Davenport and Dupont in these two abandoned buildings produced by Talk is Free Theatre. It was really shaping up to be something very special. It’s actually a show we’ve done once before in the United Kingdom and were going to bring it here. There was an exceptional cast of actors for ‘Todd’. I’ve done a lot of site-specific work but the kind of access to large, abandoned space that is often very hard to come by, and that was really tough not to share the show in that form. It was an intimate staging for thirty people inside the blood, gore and music of it all. I’ll always remember March 13 when we knew it was going to be our last day when all of lights were hung. We did one stumble through, run through and filmed it because we kind of knew that’s what we were going to be able to get. In those last few days of rehearsal, it felt like a race against the clock. I have faith the production of ‘Sweeney Todd’ will come back in some form, probably not in that same building because that building will be demolished. Theatre is always so temporal so you really can’t recreate something a year or two after the fact. I had some projects in pre-production, a show called ‘The Ex Boyfriend Yard Sale’ that was supposed to be presented with Soulpepper. We had done it in the past and we were going to do it last May. That is a one woman show that is a little more complete as Hailey McGee will play it so I have a little more faith. What have you been doing to keep yourself busy during this time? Amy and I have been streaming a lot of tv. I’ve never seen ‘Schitt’s Creek’ and she loves it. She’s never seen ‘The Wire’ and I love it, so we’ve embarked on binging these shows. There was a period of time where we were playing games with some friends over Zoom. We’ve been trying to get together with some close friends outside. We went on a really nice hike over the Thanksgiving weekend. It takes a lot of creativity to figure out. The main project I’ve been involved with over this pandemic is ‘The Ministry of Mundane Mysteries’, a telephone based theatre piece, and we’ve done over 800 performances entirely over the phone in over 200 cities over the world. There are also international collaborations of Mundane Mysteries all over the world. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? It’s daunting. One of the bright spots during the pandemic is I’ve been doing a lot of teaching. I directed a show on Zoom at Sheridan in their CMTP New Musicals called ‘Living the Dream’. That opened a couple of weeks ago. Now I’m working with two groups of students at the University of Windsor directing a show called ‘The Stream You Step In’ which plays over the Zoom. All of these opportunities working with students on the cusp of graduating into the unknown have been so valuable and inspiring as to what I’m getting from them rather than the other way around. I know that sounds cliched to say, but I’ve found these students to be so versatile and adaptable. Such a remarkable ability in these students to gravitate towards these new forms and pick up new skills. For example, in directing the show at Sheridan, all of the cast overnight had to become their own audio producers, recording their own tracks and learning all of that really quickly. I guess the advice out of all this – if you forge a path for yourself in theatre, you really need to be adaptable and hungry to wear a whole bunch of different hats. Have a variety of tools in your toolset but also clarity around what it is you vitally want to bring to the table. Hopefully there will be space for this. The pandemic is only further illuminating that. We’re seeing a real levelling and spinning of the wheel. Our industry is going to look very different a year from now than a year ago, there’s a lot of hardship within that but hopefully a lot of an opportunity for new voices. Do you see anything positive stemming from Covid 19? I think Covid is making us stop as an industry and community and do some deep reflection. All of the vital conversations we are having within our industry around equity, where resources are going, and who has what seat at the table and how to properly support and elevate previously marginalized voices in the community is vital. The acceleration of these conversations following the murder of George Floyd were able to be amplified further because of the pause of the pandemic. Sometimes as an industry and community, I think we struggle with being so consumed by whatever fire we’re actively trying to immediately put out, it becomes harder to zoom out and look at the bigger picture and vital work that needs to be done. I have more belief and more of a sense of personal accountability in relation to those important themes than prior to the pandemic. Connected to this, I’ve felt more a member of a community with other artistic leaders in the city. We’ve been doing these bi-weekly artistic director meetings, myself and 40 artistic directors within Toronto. Weyni Mengesha and Brendan Healy started these groups and we’re going to find a new form for it in the new year. I’ve been more in touch with collaborators across the country and outside of Canada. Like minded collaboration with other collaborators outside the country was not on my radar prior to the pandemic. I’m hoping we can still maintain these outside of the country collaborations once we’re able to return to in person collaborations and interactions which I’m very much craving. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I think we’re very much in an adapt or die time not just in relation to Covid but also in relation to making sure as an industry we can hold ourselves to a much higher standard in relation to the voices we are elevating. Eyes have been opened to things that can’t or shouldn’t be closed. We’re already setting ourselves up for some big shifts in Canadian theatre and to how much change there has been in artistic leadership not just in Toronto but across the country. I’m so excited about the newer and younger people who are in these positions of leadership in our institutions. We’re seeing more women in these leadership roles, people who come from an independent theatre background will be more in touch with independent artists. That gives me a lot of faith in that we have independent and dynamic thinkers. The venued companies have been dealt the most challenging blow. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? The monetization piece of it is really hard and certainly a lot of industries have been dealing with that a lot before us – look at online journalism. This mental block we all seem to have to have about paying for something on our devices. We just think about commerce very differently in relation to digital content. For ‘Outside the March’ in one form or another, we’ve charged for all the experiences we’ve done during the pandemic. Art is a value, and I think it’s important that people resource it as such or it will diminish in quality and ultimately disappear. I think the tradeoff - the work we done at ‘Outside the March’ is still live. Whether or not you are experiencing it on your phone or over your device, anything that is pre-taped breaks the implicit bargain of theatre. We couldn’t give away ‘Mundane Mysteries’ for free because so much work and preparation had gone into the process as it was anchored between performer and audience. Despite all of the drama and tension of this time, what is it about the art of performance that Covid will never destroy for you? I think we’re all burning out on screen time. It’s definitely hard to imagine a crisis that is better designed to attack the things that theatre is. We’re seeing film rebound because it involves in person gatherings to make the work but not to share the work. And the fact theatre implicitly gathers the moment of manufacturing with the sharing all at the same time all gathered together, and how do you go forward? But I also like to think optimistically that is the very reason why there will be an increased and accelerated hunger for what theatre can offer going forward once we’re out of this pandemic. Once we can have personalized theatre again, I think there’s going to be a hunger for it. We need to keep theatre sustained and vibrant in the meantime so we can ultimately meet that moment when we’re all out of this. There will be a necessity of theatre in the rebuilding process. That’s what I’m holding on to. We’ll get there through incremental steps along the way. It might be 2022, but I don’t have a crystal ball so it’s hard to plan right now. To learn more about ‘Outside the March’, visit www.outsidethemarch.ca . Previous Next Profiles Rebecca Caine Back Rebecca Caine Self Isolated Artist Jennie Scott Joe Szekeres As an avid theatre-goer and attendee, I can recall how the excitement of the Toronto professional theatre scene in the late 1980s and early 1990s matched and marveled that in New York City. At this time, there were the mega-musicals: ‘Les Miserables’, ‘The Phantom of the Opera’, ‘Miss Saigon’, and ‘Rent’ just to name a few. The first two productions listed have one person in common: Rebecca Caine. It was the Canadian sit-down company of ‘Phantom’ at The Pantages Theatre (now the Ed Mirvish Theatre) where I saw and heard the lovely Toronto born Rebecca Caine perform the iconic role of Christine Daae, which she had also performed in London’s West End. I remember hearing and/or seeing how fans of the Toronto production flocked to the stage door after performances to catch a glimpse or to chat briefly with this beautiful lady. And yes, I was one of them. Again, during the first few weeks of the ‘Phantom’ Canadian run, I also learned that Rebecca had originated the role of Cosette in the London/West End production of another theatrical titan: ‘Les Miserables’. Rebecca’s dulcet sounds were not only and simply relegated to the musical theatre community. While in Toronto, she also joined the Canadian Opera Company and made her debut there in the title role of ‘Lulu’. Rebecca also received a Dora Mavor Moore award for her performance in ‘The Little Vixen’ with the Canadian Opera Company. I encourage you to visit her website and to see Rebecca’s extensive work across Canada, the US, England, and overseas with incredibly diverse roles in music and storytelling. It was also nice to read in her biography on her website that Rebecca made her straight acting debut. And when she returns to Toronto for a concert, I would most certainly like to attend to hear her sing once more in the theatre when it’s safe for all of us to be there. Rebecca and I conducted our interview via email: 1. It has been the almost three-month mark since we’ve all been in isolation. How have you been faring? How has your immediate family been doing during this time? London calling! I’ve been incredibly up and down. Initially, it almost felt freeing. No self-tapes! Air punch! I heard Helena Bonham Carter say she didn’t have to feel stressed about being cast because no one else was. Well, quite. Then the fear crept in. Thanks to the ineptitude of the mouldering pile of chickpeas that is Boris Johnson, we have an incredibly high infection rate in the U.K. Friends got sick, some nearly dying. We hunkered down. We’ve had a lot of illness in my family in the last year. My mother has been hospitalised twice and a sibling was released from six months of cancer treatment in hospital into the whirlwind of a global pandemic. A brother in law tested positive for antibodies, my sister did not. I started to have some strange symptoms, rashes, an eye infection that could be seen from space, so my husband and I were tested. He came out positive much to our shock as we’d been so careful, and he was asymptomatic. My GP told me to assume that despite two negative tests I had had it. I’ve had days of real fatigue, headaches, and depression. We quarantined, him for one and me for two, which made me feel even more barking mad. Today I’m feeling better so let’s hope we’ve come out of it really lightly and stand a chance of not getting it again although of course, we will still be super safe in our behaviour. Meanwhile, I’m convinced the steady diet of Pringles and chocolate will keep us healthy. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? I’ve really struggled a lot with loss of confidence in the last few years. I’m really hard to cast, being a full-on legitimate soprano of a certain age in a world of belters. There are no roles for me in traditional opera now as I am a light lyric soprano and they are the first to walk the plank, and the projects that I do want to do are few and far between. It’s harder to keep one’s confidence in the long gaps between gigs. I have COVID nightmares. Standard actor dreams. ‘Phantom’ has been my go-to stress dream for thirty-two years. I keep dreaming I’m back in the London production where I had a horrid time. The dream has changed over the years. Initially, I was hiding on the top floor of the theatre hearing the show over the show relay but, over time, the dream has progressed to finally being on the stage. Inexplicably a trapeze act has been added to the opening number, ‘Hannibal’ and I am pantless. I constantly dream I’m onstage in something I’ve never rehearsed and don’t know, and all this plays on my mind. I wonder, when we ever come back if I’ll be able to still do it which, of course, I will because it’s in my bones. It’s hard not to have the fear at four am. The other thing that was really tough was that in the first few months of the pandemic I could not bring myself to sing. When I tried, I cried. For many weeks here every Thursday night, we clapped the NHS. My street asked me to lead them in a group sing and it felt exposing and like showing off. I wanted to be quiet and private. All over my socials, Turns, as we refer to ourselves here, were “giving their gift” and I was incapable of singing. I needed to because I go crazy if I don’t feel that vibration in my body and I needed to stay in good vocal shape. Eventually, I turned to the Bel Canto Vaccai method of Practical Singing (God knows what the impractical method is) which is over 200 hundred years old. I found that singing through the exercises daily kept me in good shape technically and mentally. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? Straight off, I had to cancel some concerts in Canada, which made me sad as I hadn’t been back for three years and I miss everyone. Last year I did an extraordinary new piece, ‘Abomination’, an opera about a Northern Irish politician Iris Robinson and the DUP party’s appalling homophobia by the brilliant composer, Conor Mitchell. We had had plans to take it all over the place and now that’s on ice which is distressing. It’s an incredible age-appropriate role that was written for my voice and an important piece of political theatre. I was so excited for the wider world to see it. Bebe Neuwirth, whom I went to high school with, and I were plotting a cool thing we’d hoped to workshop this summer as well. I could tell you about it, but then I’d have to kill you. It’s hard to say what will become of any of these projects. Certainly here, nothing is happening until 2021… 4. What have you been doing to keep yourself busy during this time? Well… lots of gardening, weeping, needlepoint, weeping, eating, weeping, and silent screaming. I don’t seem to have the concentration to read. I have been watching a lot of ballet, which I adore. I can lose myself in it and the older I get the more I am lost in wonder at what they can do. My heart breaks for all the dancers trying to keep in shape in their living rooms; it’s such a short career, full of sacrifice. 5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? My heart bleeds for them. I wish I had a magic wand to make it go away. I message the younger colleagues to tell them I’m thinking of them and support them. The next generation had things stacked against them before this bloody virus arrived, but I am utterly convinced that they will find a way of making theatre that will amaze us all. I’m so incredibly inspired and excited by their politicization, creativity, and passion. They will find ways to express themselves that we never dreamt of. Don’t succumb to the divisiveness that’s out there. That’s what they want you to do. Listen and avoid dogma. Don’t cancel, debate. Be kind and strong and you will rise. The theatre has survived plagues before. It will survive this. 6. Do you see anything positive stemming from COVID 19? I hope that there is a realisation that we can no longer see the planet as something to be plundered, but as something we must respect or it will strike back and that people must see each other as equals. I’ve been profoundly impacted by the stories raised by the Black Lives Matter, Climate change and also the Me-Too movement. I think somehow the pandemic has brought all these matters to ahead. The next generation get it and soon, they’ll be in charge. 7. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? I can’t speak for the North American/Canadian scene as although I work over there, I am based and mainly work in the U.K. but surely the problems are the same? Unless there’s a vaccine, some sort of herd immunity develops or the virus mutates into a less fatal form or indeed vanishes, we are going to be dealing with this for some time. 8. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? Even before the pandemic, one of my favourite things to do was to take my mother to see relays of operas and ballets at the cinema. Although many of them were playing in London it was an easier thing for my mother to handle at 87. What I did miss was feeling the music in my body. No sound system can replace being in the hall. However, in the present circumstances, I think it’s a brilliant way of getting things out there. The Belfast Ensemble streamed ‘Abomination’ to over 5000 people in 32 countries. For a contemporary opera that’s an incredible achievement. 9. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? That feeling of the flow, of being in the zone, when each thought just comes unbidden and I am fully in the moment. Pretty wanky, eh? True, though. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: Oh lordie…ugh… right. 1. What is your favourite word? Cat 2. What is your least favourite word? Ginormous. 3. What turns you on? Serious art 4. What turns you off? Donald J. Trump 5. What sound or noise do you love? An orchestra tuning up. 6. What sound or noise bothers you? Straight tone screlting. Vibrato is a fingerprint that gives individuality unless you want to sound like the factory klaxon that opens ‘Sweeney Todd’. 7. What is your favourite curse word? Twazzock What is your least favourite curse word? Unprintable. 8. Other than your own, what other career profession could you see yourself doing? Well, Pope obviously, but costume designer or medieval manuscript scholar would be lovely. 9. What career choice could you not see yourself doing? Wife of Trump. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “It’s ok Darling, we don’t need an up tempo.” Seriously, it’s “All your pets are waiting for you.” To learn more about Rebecca, visit her website: www.rebeccacaine.com Twitter: @RebeccaCaine Instagram: RebeccaCaine Facebook: Rebecca Caine Previous Next Profiles John Jarvis Back John Jarvis Looking Ahead --- Joe Szekeres First time I met John Jarvis was many years ago on a Sunday afternoon during an ‘Open Doors Toronto’ where audiences got the chance to speak to several professional theatre artists who graced some of Toronto’s finest stages. The late Al Waxman (CBC’s King of Kensington) led a group of us around to the theatres. I remember sitting in the Bluma Appel listening to John speak about the history of The Bluma Appel and some of the actors who worked on that stage. I can also recall some of us were given an opportunity to get up on the stage and ‘perform’ a scene with John. He was gracious and kind when volunteers came up on the stage and allowed each of us to have our ‘moment’ there on the Bluma Appel stage which I can recall as huge. Since then, I’ve seen John’s work in several productions at Toronto’s Soulpepper Theatre including ‘Innocence Lost’, ‘Orlando’, ‘Spoon River’ and ‘Of Human Bondage’, both of which he had the good fortune to perform to great success in New York City. John has also taught acting at George Brown College. Television and film credits include Seasons 6 and 7 of ‘Suits’ and ‘Business Ethics’. At this moment of writing his profile, I recall with much fondness John’s work in Soulpepper’s ‘A Christmas Carol’ which has become a holiday and Christmas favourite of mine. John has been the narrator in this production since its inception and plays the three Ghosts Scrooge meets on Christmas Eve. I let John know that perhaps we need a little ‘Christmas Carol’ this year to help move us out of the pandemic; ergo, Weyni Mengesha and Luke Reece – please take note this writer would love to see ‘A Christmas Carol’ on the slate again this year (provincial health conditions obviously in place) John’s recent television and Film include ‘Stockholm’, ‘Suits’ (Season 6 and 7) and ‘Business Ethics’. He also has taught acting at one of Canada's premier theatre schools, George Brown College. He studied at Montreal’s National Theatre School of Canada. We conducted our conversation via Zoom. Thanks again, John, for such a quick interview and turnaround in time: 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. Initially, I was quite taken aback by the global community recognizing the existential threat of what this was. For probably the first time in the world’s history, so many communities of people agreed to shut down, to cut off, to retreat to their homes. I was quite astounded by that global group activity. Then the fissures began, and people pushed back, and we’ve had such a very complex result. Friendships have been lost; family members have argued. While I was in Shopper’s Drug Mart today, there was a guy in front of me who was on his phone, and he was quite vehement in his call to someone saying, “No government is going to tell me what to do anytime!” And I thought, ‘C’mon, it’s the dilemma of Me, and what I want to do.” Or it’s my shared sense of protecting everybody in the group. I think the group is holding firm and, although we get attacked for being fearful coming to a power of government and this cultural war, I think people have found some strength in Covid that when it comes out the other end there will be a renaissance of ideas and activities. There will be a bursting forth of people wanting to come and see theatre and theatre artists in an expression of joy in wanting to get back on stage. 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. What I have delighted in is that so many companies, small and large, have put out product of some kind. Profile has been maintained that the artists are developing some kind of theatre to keep the profile of the company in the public view. But behind the scenes the money they will require to begin again to contract actors and designers and playwrights and the sheer enormity of producing a play, where is that dough going to come from? So far, we haven’t seen too much collapse of companies walking away. I know that some artistic directors have reached certain levels of exhaustion, and some have decided it was time to leave anyway. I’ll be curious because governments will come to the plate to a certain degree. And for the big companies, where will they get the money? There’s all the will in the world but when a large company says a million dollars is needed, what’s going to happen next? I haven’t heard the behind-the-scenes despair of the financial departments of theatre companies. A year ago, many actors, myself included, didn’t have a sound studio or filming studio in their basements. I do voice over work as well, so I had to get an expensive microphone and all the other accoutrements where I now have to do self tapes of lighting and sound and cameras. All actors are their own production company and their own editing suite now. It’s been active in television and film as there is a 37-page protocol that has allowed production companies to go ahead. It was always ironic that a theatre company was not able to rehearse and film a production of a play. But a film company could rent the theatre, come in and shoot a film or movie. It’s always been a head twister. As a professional artist, what are you missing the most about the live theatre industry? Well, it’s the flesh and blood. It’s the only card we have on the table that we’ve had for 2000 years. It’s a piece of human breathing, audio flesh in front of us. I’ve watched some Zoom plays and have tried to engage as much as I can, but it started to pull away because I just need to see the actors. I want to see the play and watch the spittle come out of their mouths. My voice teacher said the Greeks had brass urns on top of all the aisles so that the human voice would ring through those brass urns and send pillars into the cosmos to hold the thing together. So, the sound of the human actor is holding it all together. People will be hungry to hear that sound of a real, live voice. 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? I remember reading some of the profiles in this series, Joe, and some had some very funny answers. I’ll never take for granted that the joy of being in front of an audience is a celebration rather than a paranoia of performance or the worry of how I’m doing. I think all of that worrying now appears to be of little use, and that the chance to just be in front of people is a new psychological entity that I never really thought of, and I’m sure that’s what a lot of actors are saying that they need to be in front of people who will laugh and cry in the way that a story is told. Because this commonality of Covid that the audience and actor have gone through together, we are equally as hungry to meet each other. Whatever the fourth wall, it will have been of little or no use to people because they know that I haven’t been performing in front of audience, and I know that the audience has been watching television, Netflix or listening to the radio, and that there’s a genuine humility to be with each other again. I think that will be quite exciting. Describe one element you hope has changed concerning the live theatre industry. The discovery that theatre can happen anywhere; it can be on a bicycle zooming by, in a park, on your front lawn, in the driveway. Artists can go up to the balcony of your house; they can make an event happen anytime or anyplace and people will stop and be engaged. It is interesting through this societal change of Covid with the politics and the social justice issues spinning and boiling, I always thought that the theatre was moving towards this change. Before, many other arts industries were always trying to draw in the diversity of the cities we live in. As a veteran actor myself, the glory days are shifting and there’s new blood coming in, and new energy. If it takes telling the disparity and the dystopia, and the dilemma that the new culture is finding within the story, that’ll be the stories of the future. Explain what specifically you believe you must still accomplish within the industry. In the contemplation many of us have had to think about one’s career, one of the allowances of many hours of time that we’ve had during these last 16 months, you are as good as your last performance. There’s a new play coming up and you have to prepare for that audition and performance. When Ralph Richardson at 92 was asked about his career, he said, (in a British accent) “Good God, ol’ boy, I’m only halfway through the fucking thing.” (Uproarious laughter from me). I’ve much more to learn. With that contemplation, I’ve a new degree of expression that might reveal itself to people and I look forward to seeing what did that year do to one’s emotional world and the capacity to express the worries, the fears. During these last 16 months, I’ve read some of the great literature – ‘War and Peace’, ‘The Count of Monte Cristo’, ‘Our Mutual Friend’ that had no electricity in it and no sense of what was going to happen in the 20th century. So now that I’ve read about these incredible people in these incredible novels, what’s next. 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. I was sitting with my family the other night, and somebody said, “Oh, I bet you when we go back to the theatre that somebody will enter with a mask, and someone says to take the mask off. I don’t want to see a play about Covid.” I don’t want to see Covid used as a metaphor. I want this story of Covid to be over. I don’t want Covid to be a pivot point into a story. I want something different. I want a new story. I don’t want anything as a reminder because we’ve all quite had enough. I’m sure there will be a brilliant playwright who will find a brilliant way of incorporating the lonely person sitting in a basement trying to figure out what to do to tell a story or to engage. The cultural dilemma of Indigenous Canadians, Caribbean Canadians, Asian Canadians, it is their time to find their stories and to share it with us. Susan Coyne and Stewart Arnott delivered a beautiful two hander recently on Zoom about a virus. It was really quite beautiful, but we’ve seen enough about Covid. Susan and Stewart have already done it. As an artist, what specifically is it about your work that you want future audiences to remember about you? Ah………. “John Jarvis did his best. He gave his all.” (He says with a gleeful grin) In the quiet solitude of the basement, there are great days of remembering performances you loved and cared and gave it your all. And there are days where you think and remember for whatever reason you stumbled through maybe because you weren’t focused, and you know you didn’t give it your all that you should have done. I would say that I poured my sense of life and my sense of humour, and my sense of joy in people, and I poured it into everything I did. That’s what I hope future audiences will remember. Previous Next Profiles Shawn Wright Back Shawn Wright Looking Ahead David Leyes Joe Szekeres Shawn and I conducted our conversation through email. When he sent me his headshot, I kept thinking I have seen his work onstage, but where? Forgive me, Shawn, but I had to do a bit of research to see where I’ve seen you before on stage. And then it came clear to me as I remembered his performance as Geppetto in Toronto’s Young People’s Theatre production of ‘The Adventures of Pinocchio’. You brought a tear to my eye as the father who never gave up on his son no matter the odds. And I did see the original Toronto cast of ‘Jersey Boys’. I wasn’t reviewing at that time but loved every minute of that production. Nice work. Shawn holds an Honors B.A. in English Literature from the University of New Brunswick. Mid-career, he trained at Shakespeare & Company in Massachusetts. Other credits include: London Road, The Arsonists (Canadian Stage); the title role in Pal Joey (Theatre Calgary), Les Miserables,; 7 seasons at Stratford Festival; 6 seasons at Shaw Festival; 2 seasons as Matthew in Anne of Green Gables (Charlottetown Festival), Lord of the Rings (Mirvish); Mamma Mia! (Original USA cast); Jersey Boys (Original Toronto cast); Ragtime (original Broadway workshop cast), Oleanna (TNB); Mikado (Pacific Opera); Next to Normal (MTC); Anne of Green Gables (Charlottetown Festival); Oliver! (NAC). Playwright: Ghost Light (published by Playwrights Canada Press); seven productions so far, including a nomination for the international LAMBDA award. Awards: Dora, Guthrie, Newton, MyEntertainment plus many Broadway World nominations. Thank you for taking the time, Shawn, and for adding to the discussion of where you see live theatre headed in a post pandemic world: 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. Ok, that's a two-part question. The world I knew? What was the world I knew before March 13, 2020? On March 12, 2020, I was in the midst of a four-month Canadian tour of a play I'd written entitled ‘Ghost Light’. In May and June 2020, I was supposed to act in "On Golden Pond" with two of my childhood idols, Hal Linden and Michael Learned. In July 2020 I was supposed to start “Harry Potter and the Cursed Child" in Toronto. I was happy that after a few months on the road I could walk to work from my own condo in a show that was projected to run for a few years. I was single. I was happy with my lot in life. After March 13, 2020? Ghost Light closed on the road; my upcoming shows were postponed until God knows when. I flew back to Toronto, collected CERB while waiting for college zoom teaching jobs, joined a dating site and met someone great (still together one year later), followed all the important and necessary social and cultural movements with awe and hope, felt happy for the small strides that were starting to happen in that regard, started to reckon with how white privilege was a factor in keeping me working all these years, taught acting by zoom at a few colleges, did a few voice over jobs and commercials, wondered if there would be a place for me in the theatre again, and ...oh, yeah,...basically worried day and night about breathing the wrong air and dying. 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? How has my understanding of the theatre changed? Well, large productions (which have been most of my income) will take longer to get going than smaller productions (where i make some but not most of my income). There will be (hopefully) more of an equal distribution of casting in terms of an actor's race and gender and size (which is good) but probably not of an actor's age (which might be bad....for me). As a professional artist, what are you missing the most about the live theatre industry? I miss the laughs in the dressing room from the half hour call to the places call. I miss the satisfaction of a full day's work in my chosen field. I miss the boisterous rush of adrenaline-fuelled chat walking from the stage to the dressing room after a curtain call. i miss the fitting rooms with designers. i miss the glorious relaxation of being in a character I wear well in front of an audience. Well, ok, the industry and the art are two different things so....hmmm, what do i miss about the industry per se? The opening night parties, seeing my name on a poster alongside artists I admire, being part of a community that rallies at the drop of a hat to help a failing theatre company or an ailing colleague. I miss the memorials because we can't gather right now. In February 2020, we had a lovely send off for Mary Haney at a neighborhood pub. It was sweet and touching and raucous and full of love for Mary. There's a queue of dear others for whom we are waiting to do that. 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? Having a job in theatre. Having audiences come to our plays. I never really took those things for granted anyway. Describe one element you hope has changed concerning the live theatre industry. That everyone feels heard and represented. Explain what specifically you believe you must still accomplish within the industry. "Must" still accomplish? I don't think in terms of 'must' anymore. I've been proud of the career I've had pre-Covid because it's been exceptionally varied but I'm most proud of the fact that for over 30 years I've been able to make a full time living in the theatre. I WANT to keep accomplishing that. I guess I MUST accomplish that to pay my bills. 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. I'd be grateful to be cast in a Covid themed play. I'd be happy to watch a Covid themed play. As an artist, what specifically is it about your work that you want future audiences to remember about you? I'd like to be remembered as an artist whose work was heart-felt and detailed. To follow Shawn Wright at Instagram: mistershawnwright / Facebook: Shawn Wright Previous Next Profiles Jayme Armstrong Back Jayme Armstrong Theatre Conversation in a Covid World Kevin Clark Studios Joe Szekeres I felt it was time after a month to continue discussion with professional theatre and performing artists to see how they’re doing. It’s now getting turbulent in Ontario and it has been the arts community so far that has helped us endure the emotional volatility of the pandemic. So I thought of a new title to begin new conversations. But who to ask first? When I reviewed Calgary’s Storybook Theatre production of ‘Annie’, I thought why not ask Director Jayme Armstrong to see if she would be interested and available to share her thoughts. And I was pleased she agreed. Jayme’s zeal, enthusiasm, and love for and of the theatre industry was highly infectious, and that’s something I wish all of us would catch from her. She and I had a good laugh when I told her I remember her from her work on CBC’s ‘How Do You Solve A Problem Like Maria?’ where she made it to the top three finalists to play Maria in the Mirvish/Sir Andrew Lloyd Webber production of ‘The Sound of Music’ at Toronto’s Princess of Wales over ten years ago. But enough living in the past for me. Jayme has been one extremely busy lady as you will see from our Zoom conversation. She is a staple performer at Ontario’s Drayton Entertainment plus she has just received her master’s degree in Arts and Cultural Management. She and I both agreed that the production of live theatre, both at the professional and non-professional/community theatre is going to look so different when we emerge from Covid. Thank you so much for the good conversation, Jayme: In a couple of months, we will be coming up on one year where the doors of theatre have been shut. How have you been faring during this time? Your immediate family? I will say that it has been a journey. As theatre artists we’re used to almost over functioning because we’re self-employed. Our level of busy generally exceeds what the average person’s level of busy is. Going from that to absolutely nothing was shocking. It was totally shocking almost to the point where a lot of artists didn’t know how to function. One of the beautiful things that happened and that we saw, and I expected, were the artists who stepped up during this time. They were the first to step up online and provide the content, free classes, things to do. So many theatre creators and artists do so many other things. They wear many hats in order to sustain themselves as yoga, dance and art teachers. They draw on their bag of tricks to see what they can offer in times of peril. I was really moved by all this because this is humanity to me. In times of struggle, we always see artists who step up. It is the most beautiful thing about the industry in which I work and, for me, it is one of the most addictive things about the industry. There are so many challenges about the industry and some things that work against my personality as I crave stability and consistency. The theatre industry can be a bit tricky because you never know where your next job is coming from. Having that faith it will come, that it will be there and you’ll come across people who will see things the way you do can be tricky. The initial challenge of Covid was the unknown. When will it come back and what will it look like? And ironically here we are, approaching a year later, and we still have the same questions. My immediate family has been doing well. As someone who is used to being incredibly busy I’ve had a lot of extra time to spend with my immediate family. My father has had a varied health existence over the last while. I lost my mom to cancer when I was 26 years old. The focus on family for me has been huge because as I’ve gotten older I’ve realized just how fast time passes. Covid has put a new influence in my life to focus on that which is important. Really, we’re so quick to overprioritize our work and our commitments and so many things going on in our lives. Simply put, the thing that we really missed were the people. The other stuff can go and the things that mattered were nearest and dearest to our heart. I’m incredibly grateful to re-focus on the other aspects of my life that perhaps I’ve ignored in the quest for this career I’ve chosen and the sometimes-all-consuming thing I’m doing. Scarlett, my dog, is doing better, thank you for asking, Joe, and for supporting. It’s so hard with animals because they can’t tell us what’s going on and what’s hurting or bothering them. They hide their pain from us because they don’t want us to feel it. How have you been spending your time since the theatre industry has been locked up tight as a drum? Well, I’ve directed a production of ‘Annie’ for Storybook Theatre in Calgary. One of the things I did very quickly was pivot my side business. My side business is ‘Enchanted Entertainment’ and we do characters for birthday parties and children’s events. It’s my labour of love. I started ‘Enchanted’ because of my mom. She was an incredibly charitable person. When I really started starting to get busy in my career in my mid twenties, I found that I needed another outlet, something that wasn’t consuming me in the way the theatre world can consume artists. The theatre world can become innately obsessive as it’s something we really have to put ourselves into. And yes, at times, the theatre industry can be a little toxic for ourselves if we’re not careful and taking on self criticism and all of the doubt and uncertainty. I needed an artistic outlet that wasn’t that. I needed something that was happy and that had an opportunity to give back to others in the way I had been so lucky to receive. The first thing I did when Covid started was I immediately pivoted and shifted things online. Not for the purpose of our benefit as our tiny company, it was for charity. What I knew would probably happen was that families would be struggling for so many reasons. Yes, we saw the effect on the elderly and senior citizens, but I also saw the effect Covid would have on the kids. With the kids, they’re at such an influential point in their lives to be without any artistic influence potentially for two years PLUS that is enormous. I thought in my own little way, this was my way to give back. I partnered with companies like Hospital for Sick Children and Make a Wish Foundation to grant wishes to kids that weren’t able to have their Disney trips. With children who were terminally ill, we were able to do a Zoom call for them with their favourite character. My wish was to bring some joy to the kids in a very dark time. Getting to watch not only the kids but watch the parents seeing their child have that moment of happiness in this bleak, grey time, my life is forever changed. If I’m truly being honest with myself, why I did this was simply for the reason I didn’t know what else to do. I didn’t know what to do with myself with the loss of everything in my life. It was my way of coping. As Covid went on and summer approached, things started shifting and there was a lot going on with Black Lives Matter here in Canada and the US. Everyone was thinking “I need to go to my own bubble and close the window for the summer and get outside”. We pared back for a bit in the summer as we got tired online and so was everyone else involved. I’ve never experienced anything such as what we did for the kids. It filled my heart in a way that nothing else can. I’ve never experienced anything like it. Doing this totally for free, voluntary, and to see the expressions on the kids’ faces was far more important in that moment. It was a privilege what we do. 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? (Jamie chuckled and then stated) This is such a loaded question. Theatre is often described as an escape. That’s our job in the theatre – ‘to provide escape for people’. In terms of Covid, it’s had periods of time as being as escape for me because life has looked so entirely different. However, the state of the world we’ve experienced during Covid, I don’t know if I would describe that as an escape. There are so many things in the world right now that have come crashing into our existence. I honestly believe for myself was Mother Nature’s way of correcting what was happening in the world – some of the selfishness, some of the unkindness, it’s been a chance for the whole world to stop and have things taken out of their everyday reality and examine the hardships all over the world. We needed to look beyond ourselves and the end of our own little nose. Covid doesn’t discriminate. No one is immune. So, in terms of the escapism, yes, for me personally, I can recognize even as a self-employed artist (sort of the bottom of the barrel) that I lead an incredibly privileged life. I’ve been incredibly lucky. I’ve living a beautiful career; I’m one of the few artists I know who owns my own home, on my own. I can recognize in many ways as a Canadian, how privileged I am to live in this country, just to be born here. The fact that I was born here, into my family, my ability, my intelligence, my heart makes me privileged. In terms of escapism, I can only say there’s been periods as the world has come crashing in at a few points. There has been some beautiful movement in my life in learning to relax, in learning to accept that as an over achiever, over worker and over thinker, I cannot control the outcome. It doesn’t matter what I do right now, I can’t make my industry come back. I can’t go back to work the way I want to. I just have to wait and be patient and there’s nothing I can do about that. 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 will say that this is a very fair and accurate prediction that we won’t be back full tilt until at least 2022 for a number of reasons. It will depend on the roll out of the vaccine. From an arts administrative perspective, Alex Mustakas (one of my mentors from Drayton Entertainment), always says it is called ‘show business’ not ‘show fun’. Yes, it is fun and a privilege, but you cannot continue to do it unless you are making money doing it. That is how we sustain productions and produce and create more and satisfy our audiences while growing them. Realistically it’s more like three to five years before theatre will come back. The majority of these theatre companies will produce less shows, smaller shows, less rehearsal time. They’ll be looking to pare down their costs because many of these companies are not supported by the government or external funding. They still have to continue paying their overhead and their staff to run so many areas. The unfortunate reality for arts organizations is that they are suffering, bleeding and they are going to continue to do so until they can get back to a place where they are producing. That also is impacted by people’s expendable entertainment dollars. In terms of live performance, we’re in the fortunate situation that people will be ready to get out and do things and return to experiences that feed their heart. I do believe that live theatre is a totally unique experience for that. Although I enjoyed directing Annie that I knew would be transferred to film, it’s not the same as live theatre. There’s an energy and magic at live theatre that you cannot replicate on film. 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? The one thing that I was always taught growing up – if you want to remain in the theatre industry, you have to be a lifelong learner. There is always going to be somebody younger, prettier, more talented coming up behind you. And that can instill a huge sense of fear in you or it can light a little fire under your butt moving forward. Keep growing and changing. Finding my way to Drayton put me in a situation where Alex Mustakas sees no limits in what you can do. In an industry where you’re often typecast into certain types and performers, Alex sees ability and then trusts the person and the ability. There’s no limits. As a result, I haven’t been typecast into anything. I now play such a huge variety and it’s challenged me to grow. In playing such a variety of characters, now that I’m transitioning into directing, I’m now more in tune with what it’s like to play a variety of characters and to explain it to people, let alone the transition to directing which is difficult to begin. How do you convince somebody to trust you with their multiple thousands of dollars, and you arrive at that first rehearsal in a group of friends who now you are in charge of to ensure the show goes forward. What I ended up learning was the only way to be myself. I wasn’t any different and my duty was not to try and be anything else. It was to just give everything in my heart that I was lucky enough to be a part of. 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 do agree in a sense about feeling danger in the work, but my phrasing would be a little bit different. Danger equates a fear-based mentality, and I really do my best not to lead through fear. There is enough fear generally in my industry to really put themselves out there and to remain incredibly vulnerable. I do my best not to equate things from a fear perspective. Danger does equate to fear so that’s the first part to this question. Fear challenges us to function outside of our comfort zone, and that is something I am for. When we function outside of our comfort zone, it challenges us to change and adapt and that makes us grow as people, as performers and as creators. On top of that great theatre should inspire great change in the world. That’s why we produce theatre to inspire change. It’s an interesting thing right now in terms of what’s happening in the world in general. We’re working hard as a society to correct and right some of the injustices, things that are wrong. But if we go back and change our entire theatre history, how do we know how far we’ve grown? Isn’t great theatre also saying, ‘Wow, isn’t that something from 40 years ago?’ Have we come far enough? I get concerned sometimes that we just take things that no longer serves us and say that doesn’t exist anymore. But that’s a great barometer for change and whether we’ve come far enough. The truth is we can always do more, we can always do better. So, I do agree with Ms. Caldwell’s statement, but I would phrase it differently. 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? I speak a lot about vulnerability now because the truth of it for myself is that I’ve discovered that I’ve had an enormous fear of vulnerability. That is the truth. I wouldn’t be vulnerable as a performer. Eventually, through circumstances in my own life, I’ve learned that your greatest power is your vulnerability. As an artist, it is essential to be vulnerable. I would not have been able to make this transition to director if I did not discover my vulnerability as a performer. It is an enormous gift and power to share your vulnerability. It is not weakness. Sometimes we are taught through the industry and other means that expressing vulnerability makes us appear weak. As female leaders, that’s definitely something we are shown – don’t be vulnerable, sensitive, weak. My greatest power is potentially (and I’m discovering it in real time) learning to lead through female energy NOT through male energy. To become the best leader and arts creator I can be, I need to trust in my vulnerability because that’s going to make me the best female leader that I can be. 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 interest 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? We talked earlier about the trajectory of theatre and when it will possibly be coming back and realistically what it will look like. It’s another unknown. I’m proud of the way my industry has adjusted given what Covid threw at it with limited number of resources. The curiosity I found in myself was through my experience in directing ‘Annie’ for Storybook Theatre, completing my Master’s in Arts and Cultural Management and discovering this art administrative perspective that I’m very interested in discovering. This time has been very transformative in discovering these things for myself. Nothing is the same. The theatre industry is not the same. When it comes back, it will innately look different because it will have to. And the way we produce. Will we go back to the way we produced things before? I doubt it because are used to being in their homes and having things accessible at their fingertips. There will be more variety made available online whether or not I personally view it that way or not. I’m a purist when it comes to theatre innately, but to touch and reach people we’re going to have to figure out how to do that and what it looks like. I’m really inspired by the growth I’ve seen in the short time. I know this will continue. I have a new interest and curiosity in how to produce live theatre in sustainable ways to reach more people. Producing theatre is expensive and do people really realize this. You can stream Netflix or buy a $35 + for a ticket to a professional show. So why would people want to purchase such a high-ticket price? Yes, there is magic in the theatre and it’s not for everybody. But that’s why the ticket price is a tad higher than Netflix. In order for the industry to move forward, what I see coming out of Covid is that we are going to have to get very good at sharing resources and I’m curious how do we go about doing this. I tagged up with Storybook Theatre because I was curious in working with young people to ensure they don’t go without the arts in their lives for at least 2+ years now. Yes, we realize that our seniors are our die-hard supporters of the theatre, but what are we doing tor ensure young people become supporters and subscribers as the seniors are? The seniors may be fearful upon returning and I’m curious how we accomplish to make the seniors feel safe plus ensure we begin to appeal to a younger audience. Jayme welcomes connection to her social media accounts through Facebook: Jayme Armstrong and Instagram: jayme_and_scarlett Previous Next Profiles Rose Napoli Back Rose Napoli "It behooves theatre makers to consider their audiences more deeply. Who are we making the work for? If it’s just for ourselves, then we can’t expect audiences outside of the theatre community to be there. " David Leyes Joe Szekeres There aren’t enough hours to speak to Canadian theatre artists and learn what they’re doing. That’s even more reason to get ourselves to the theatre as much as possible. Thank you, Rose Napoli, for reminding me why I want to continue profiling and highlighting Canadian theatre artists. All of you are worth it. She holds a Bachelor of Fine Arts in Acting and a Bachelor of Arts in Education from the University of Windsor. She also had two stints of training with the Banff Citadel Professional Training Program. For Napoli: “Training is never complete…the most important lessons I’ve learned in the theatre…all happened while I was working.” I like hearing that. It’s reassuring that even actors always feel their training is never complete, and they continue to examine and discover new paths and avenues of exploration. Rose and I conducted our conversation via email. She is smack dab in rehearsals right now. I have some family responsibilities that have prevented me from attending shows this past week; however, I look forward to seeing ‘Mad Madge’ as press releases are whetting my interest. Even before I began compiling her profile, I knew I’d heard Rose’s name, but I couldn’t remember in what capacity as an actor or playwright. So, what does one do in that case? Do some quick online research using reputable sources and avoid Wikipedia. And I did just that. When Rose debuted at Soulpepper, her theatre bio stated she had performed in Canadian Stage’s ‘Much Ado About Nothing.’ So that’s where I saw her work! Her Soulpepper bio also indicated she was nominated for a Dora for Outstanding Performance in “The Incredible Speediness of Jamie Cavanaugh.” Rose is a television writer who has recently worked on shows for CBC, Bell/Crave, and CityTV. She is currently developing her own shows with Cameron Pictures, CBC Gem, and Circle Blue Entertainment. A busy lady, especially with ‘Mad Madge’ opening soon. From releases I have read about Napoli’s play: “Margaret Cavendish, known as ‘Mad Madge,’ was a 17th-century philosopher, poet, and playwright—a scandalous Jill of all trades and mistress of none. In her unapologetic pursuit of fame, Madge ditched her dysfunctional family to join the court of an unruly Queen and leave her mark on history. The script pays homage to Jane Austen and Tina Fey in the same breath. It’s a laugh-out-loud contemporary-period mashup that suggests that a woman’s hunger for unbridled attention is not so shallow.” For those who are television watchers or paparazzi gazers, if audience members keep up with the Kardashians, Paris Hilton, and Britney Spears, and for those who faithfully watch RuPaul’s Drag Race, Margaret Cavendish did it first. ‘Mad Madge plays fast and loose with history. The production team is interested in a show that is provocative, true, and hilarious but not historically accurate. These are some further good reasons for all of us to get up off our sofas in front of our television sets and go to the Theatre Centre. What drew Napoli to compile this tale? “I initially was interested in writing a wild comedy about female rage inspired by the woman who threw the chair onto the Gardiner. I was curious about women being driven to a kind of madness because of social media. At the same time, I was reading Danielle Dutton’s book, ‘Margaret the First.’ Margaret was the OG influencer, obsessed with being famous… I thought, wow, we’ve been doing this long before Britney Spears. We’ve been doing it since the 17th century.” From her email, I can sense Rose’s cheekiness. She wants the audience to see the show and laugh because she says ‘Mad Madge’ is funny as hell. For example, Nancy Palk’s Queen Henrietta is on the toilet for a good portion of the show. The toilet seat is made from fur, which is probably what could have occurred in the 17th century. The cast just did a run of the show, and Rose only corpsed three times! Rehearsing comedy can be tricky, but the cast makes each other laugh, which is a good sign. The show moves fast, and the cast has to manage changing characters at the drop of a hat. Napoli compliments director Andrea Donaldson: “Andrea and I have worked together many times in many capacities. She directed the premiere of another play of mine, Lo, or Dear Mr. Wells. I’ve been an assistant director to her. She’s directed me as an actor in Grace and The Taming of the Shrew. This is the first time she’s directed me in my work. Andrea has been with ‘Madge’ since its inception. We have a shorthand. We have trust. We can disagree. It’s so validating to work with someone who understands who you are and what you’re doing. She is so generous, completely without ego. Which balances my flaming one.” Rose also acknowledges the work going on behind the scenes. Astrid Janson and her team are working tirelessly in their magical costume quarters. Something like fifty costumes all have to be quick-changed, and it’s all done sustainably, which is amazing. The production team is producing a show about excess, and it’s all ecologically sound. Napoli says she’s chuffed to be onstage again and certainly doesn’t want to negate the challenges the live entertainment sector faced through the pandemic. Still, she doesn’t worry about the future of the theatre. Robots may make movies in the next few years, but nothing can replace live performance. Rose has become far more discerning about how she spends her time. She believes audiences have done the same in their gradual return to the theatre. She asks an important question that I think all theatre artists must consider going forward: ‘Let’s consider our audiences more deeply. Who are we making the work for? If it’s just for ourselves, then we can’t expect audiences outside the theatre community to be there. Once ‘Mad Madge’ concludes its run at The Theatre Centre, what’s next for Napoli? She jumps into workshops for a new musical she’s writing with composer Suzy Wilde, directed by Marie Farsi. Excerpts from the show are showing at Musical Stage’s New Works Festival in May. Then she’ll be in TV land for a while, but she'll never be far away from the theatre. ‘Mad Madge’ is a Nightwood Theatre production in association with VideoCabaret. It runs at Toronto’s The Theatre Centre April 9 -21, in the Franco Boni Theatre, 1115 Queen Street West. For tickets visit www.theatrecentre.org or call the Box Office (416) 538-0988. Previous Next Profiles George F. Walker's ORPHANS FOR THE CZAR previews March 29-31, opens April 1 and runs to April 17 at Crow's Theatre Back George F. Walker's ORPHANS FOR THE CZAR previews March 29-31, opens April 1 and runs to April 17 at Crow's Theatre Looking Ahead Courtesy of Crow's Theatre Joe Szekeres The first play of George’s I had read during my undergraduate at Western over forty years ago was Zastrozzi. I had the opportunity to see a rather solid production of it performed well several years ago at a local community theatre group here in Durham Region. I remember my Canadian Literature professor stating during the lecture the play was rather controversial for its time, but it was an extremely important one as part of the Canadian theatre mosaic. As an eager undergraduate of English Language and Literature eons ago, I waited patiently for Walker’s response to this rather brief analysis during our recent telephone conversation. What he said made me wonder if other playwrights did or now do the same thing. George has thought a lot about Zastrozzi over the years since its 1977 premiere at Toronto Free Theatre directed by Bill Lane. Walker felt accomplished with the work that was done with the original cast because it was so different at the time from all the other plays on the Toronto stages then. Zastrozzi had all the elements necessary to make it a good production: swashbuckling scenes, melodrama, selfishness, greed, playfulness, sexual references, psychological wordplay. Yet Walker and Lane wondered where the play fit in because it wasn’t like others in Toronto at that time. Hmmm…and thus the reason why he has returned to think about Zastrozzi. Walker’s pleased that it is still an actor’s piece and that it still speaks to the community theatre and professional level because actors love to perform it, but that question of fitting in remains. I wonder if audiences now, and in the future, will look at Walker’s newest play Orphans for the Czar and consider how it fits into the current Canadian theatre mosaic? Will it be considered an actor’s piece? Will the actors allow the story to speak for itself? Possible discussion I guess when the production opens on March 29. From Crow’s website: “George F. Walker’s newest high-stakes comedy [Orphans] ruefully explores the duplicity, revenge, and self-interest at the core of a culture about to go up in flames. Suggested by [Maxim Gorky’s] ‘The Life of a Useless Man’ and set before Bloody Sunday in St. Petersburg, a hapless double agent tries to stay on the right side of both the revolutionaries and the czarists…a comedy of pathos about the fragility of people in unstable times, Orphans for the Czar is a plea for the possibility of decency.” Some very heady stuff here in Orphans’ brief plot description so I asked George why he felt the play was an important one for 2022 audiences. It was during the Trump era that Walker became fascinated with those Americans who voted for the Donald. Were they vulnerable people easily convinced to join any group, or in this case Trump’s group? One wouldn’t know it from seeing the recent news reports of the terror emanating from Russia on Ukraine right now, but George spoke about the Russian people as a vulnerable people in his play. I’m curious to see how this possible vulnerability might play out in Orphans. The play will be directed by Tanja Jacobs with some cast members whom I’ve seen on other stages and in other previous works. She spoke in a recent online conversation with George about the love she has for Orphans and how he has been inspired by her enthusiasm. George told me he hasn’t sat in on any rehearsals at this time and is hoping to sometime this coming week as he has been at his home with his seven-month-old granddaughter. In our conversation, George told me he trusts Tanja, and this cast completely and is not worried at all. When he sent some re-writes to the cast, everyone fell in love with the new pages. George further commented how he has fallen in love with writing for the theatre once again. There was a near ten-year absence as he was working on television shows: This is Wonderland, The Line, and Living in Your Car. Yes, he had control over the writing he was completing for television, but he felt that at least in Canada you can’t go that far in writing regarding elements that might be either too emotional or too personal. Walker writes freely. He likes digging deeper into the psyche of individuals and he’s now having a hell of a good time writing again for the stage. From listening to his voice at the other end of the line, I could hear a jokester tone as he acknowledged whether the plays get produced is another question. Whether his children and grandchildren will make sure his plays are produced in the future is another discussion as well. I promised George that I would not turn this phone call into a Covid related pre-show/profile for Orphans, and again he laughed, and I could tell from his voice he was pleased that wouldn’t occur; however, there was one Covid related element regarding the theatre and how it will look post-Covid for George and I wanted to hear his perspective. And again, his response was something that I hope all theatres will take to heart as we all move forward after two years. In his conversation with Tanja, George spoke about “the higher the stakes in the world, the higher the stakes there must be in anything he writes about the world.” I asked if this statement could also be applied to Canadian actors as they move forward. George once again confirmed how actors nearly had almost everything taken away from them during these last two years. Everyone involved in the theatre is thankful to be able to return and has recognized how lucky they are to be back, but for George, it appears that audiences have been left out of the conversation. It’s important to have that connection to the audiences and let them feel things once again. There is going to be a hesitancy for some audience members, but there will be a voracious eagerness for those who want to return. There’s nothing in the world like a live connection to a theatrical piece where the audience can see the sweat on the actor’s brow or the tear in the eye. Walker wants to get back to theatre touching us on so many levels. Perhaps more blood will be spilled, but if that provides a live connection to an audience to feel emotions, so much the better. Thank you so much for the phone conversation, George and for re-connecting me once again to experience those emotions that make all of us human. The cast for Orphans for the Czar includes Christopher Allen, Shayla Brown, Eric Peterson, Kyle Gatehouse, Patrick McManus, Michelle Mohammed, Paolo Santalucia and Shauna Thompson. The production previews March 29, 30, 31. It opens April 1 and runs to April 17, 2022, at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box office to purchase tickets at (647) 341-7390 ex. 1010 or visit www.crowstheatre.com for more information. To learn more about George F. Walker, visit his website: www.georgefwalker.ca . Previous Next Profiles James Grieve, Director of Fisherman's Friends, The Musical Back James Grieve, Director of Fisherman's Friends, The Musical Looking Ahead ​ Joe Szekeres Last week, I had the opportunity to interview James Grieve, the director of ‘Fisherman’s Friends, The Musical’ after the opening night show at Toronto’s Royal Alexandra Theatre. According to his website j.grieve.com, James is a freelance theatre director and was formerly Joint Artistic Director and CEO of the UK’s national theatre of new plays Paines Plough from 2010-2019 alongside George Perrin. During their tenure the company produced 44 world premieres on tour to 291 places across the UK and internationally by playwrights ranging from debutants to Olivier, Tony and BAFTA winners staged in historic proscenium arch playhouses and student union bars, at music festivals and The National Theatre, in village halls, Off-Broadway, on BBC Radio and televised on HBO. James’s freelance directing credits include a new production of Kander & Ebb’s CABARET for Gothenburg Opera in Sweden in 2020 and the new musical THE ASSASSINATION OF KATIE HOPKINS for Theatr Clwyd which won Best Musical Production at The UK Theatre Awards 2018. James’ new production of LES MISERABLES for Wermland Opera in Karlstad, Sweden, was described as “world class” by DN and played for nearly two years in two theatres. His production of Brian Friel’s TRANSLATIONS for Sheffield Theatres, English Touring Theatre and The Rose Theatre Kingston won Best Production at The UK Theatre Awards 2014. In 2001, James founded the new writing company nabokov with George Perrin and Ric Mountjoy. The company forged an international reputation for presenting theatre events everywhere from pubs to warehouses to music festivals to Off-Broadway, including James’ production of Mike Bartlett’s ARTEFACTS in London, New York and on tour. James trained as assistant and associate to Josie Rourke, and as staff director to Howard Davies at The National Theatre, and on The National Theatre Directors Course. He was awarded an MBE in The Queen’s New Year’s Honours List 2020 for services to theatre. This was my first opportunity to conduct a live interview after a performance so many thanks to Mirvish Productions for this opportunity to speak with James. From what I could tell looking around me on the opening night of ‘Fisherman’s Friends, The Musical, the audience exited the theatre in tremendous high spirits because there was pure blissful joy emanating from the stage. What words of encouragement did James give to the cast before opening night: “I just told them to enjoy themselves. When you spoke about that joy earlier, Joe, that’s very real on that stage. Although they’re acting as characters, these are very real human beings who love deeply and passionately performing and acting, but most of all singing. The musicians love making music and they change instruments in the blink of an eye.” James then laughed and said he didn’t have to go and motivate them. They do it themselves before each performance. James is equally as thrilled to be invited to this ‘beautiful, beautiful, Royal Alexandra’ and to be warmly welcomed by the crew and everyone here. The creative team for ‘Fisherman’s Friends’ had been in Toronto for just over a week and a half and it has been a thrill and a privilege to bring the show over the Atlantic and to receive such a wonderful reception. Why does Toronto need a show like ‘Fisherman’s Friends, The Musical’ right now? James calls the production a universal story about ordinary people who don’t seek fame and fortune but have extraordinary spirit and talent. Fame and fortune find them instead. ‘Fisherman’s Friends’ is a story about friendship, community, and love: He further adds: “In a complicated and oppositional world and difficult a lot of the time, there’s space for a story that reminds us of the real importance of the core values of being a human being. Family, friendship, community, and a love of music all play a part in this. Through telling the story of these guys, we’ve come to understand more of what they stand for as a group. The world needs some sea shanties now and then.” As an artist for what he calls ‘twenty-something years’, James feels extremely fortunate to be part of the theatre industry which is not a straightforward profession. He feels tremendously fulfilled hugely and personally in doing something he loves and that is a rare and wonderful thing for him. For any aspiring artists, singers or dancers who might have seen this opening night show or who will see an upcoming performance, James tells them to work hard, delve into their passion and find out what makes them happy as an artist because the theatre industry is very competitive and a difficult profession. How has he felt about Covid’s ongoing presence worldwide and its effect on the theatre industry? As an artist, what James felt he missed the most was the sense of community that comes not only from working in theatre but going to the theatre. It’s extraordinary to be in a live audience that you can’t get from watching television at home. What James felt was missing was the ritual and the preparation of going to the theatre – getting dressed up, going to the city, getting a drink, sitting down, reading the programme, and waving to people whom you might know in the audience. James has returned to the theatre with a renewed sense of theatre's importance in a constantly shifting and changing world. Although we are still in the throes of Covid, this extraordinary special thing theatre does every night for audiences has almost a greater value than ever before at a time when people need human contact to experience something collectively. ‘Fisherman’s Friends, The Musical’ runs until January 15. After Toronto, the production returns to Nottingham, England, home of Robin Hood and continues its UK tour running through until June 2023. One of the most exciting parts for James is the show’s return to the Hall for Cornwall in May. ‘Fisherman’s Friends’ opened there a bit over a year ago in its home county among the people whose lives and culture they are representing on the stage. James fervently stated everyone is excited to take the show back home to Cornwall. What’s next for James Grieve once ‘Fisherman’s Friends, the Musical’ concludes its run? “I am doing a new musical about the life of Silvio Berlusconi, the former Italian Prime Minister who has led an extremely colourful life. We are putting his story on stage in London and I’m really excited to do that.” To learn more about ‘Fisherman’s Friends, The Musical’, follow fishermanonstage.com Previous Next Profiles Richard Ouzounian Back Richard Ouzounian Moving Forward ---- Joe Szekeres It was reading the many reviews of now retired Toronto Star theatre critic Richard Ouzounian and theatre critic Lynn Slotkin (of The Slotkin Letter) which led me to enter the world of professional theatre reviewing, and I am gratefully taking this opportunity to thank both of them publicly. I had interviewed Lynn earlier this season. My friend, Kathy Knight, told me that Richard was out for a walk and happened upon the porch side concert in which she was performing. Kathy said to get in touch with Richard for an interview, and I was most thankful and pleased when he agreed to answer the questions via email. I also had the opportunity to see Richard’s direction of ‘Four Chords and a Gun’ (Gabba Gabba Hey) and loved it for its bleeding rawness about the Ramones. Now that I know Richard will direct an upcoming concert production of ‘Follies’ since it has been postponed, I do not want to miss that one especially when you see the cast he names in one of his answers. Thank you, Richard, for our email conversation: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I always knew this was going to be a long haul. Well, not always. Initially I thought it would be over for North America in a month or two. Then reality set in. I think we might be back to normal – whatever that means – in about a year from now. But I secretly feel that our world has changed forever. Anyone who thinks we’ll all bounce back like rubber balls is crazy. The world we left in March of 2020 is gone forever. There will be a new way of living. I hope it will be a better one: free from systemic racism, conspicuous consumption and a lifestyle that has come to confuse motion with movement. How have you been faring? How has your immediate family been doing during these last six months? Like everyone, we’ve had our ups and downs. My wife Pamela decided finally to quit her job as Board Secretary at the National Ballet of Canada and is enjoying that freedom tremendously. My son Michael lost his two part time jobs as well as his three-day-a-week involvement with the LINKS program at Variety Village. He’s having trouble coping without those anchors. And my daughter Kat, who worked in event planning, saw 10 months of work vanish overnight, which left her all at sea. But despite all of that we have stayed well and surprisingly happy. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I’ve been the most hurt by what’s happened to my colleagues, especially the younger ones. I’ve had a great 48 year career in the business, so I have nothing to complain about, but I think of the personal and professional losses of the casts of potentially thrilling shows like Soulpepper’s The Seagull, Talk Is Free Theatre’s Sweeney Todd, Stratford’s Hamlet, Shaw’s Mahabarata, the Crows/Musical Stage collaboration on Natasha, Pierre and the Great Comet of 1812 and so many more that my heart is well and truly broken. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was joking early in March that I had just turned 70 and was about to embark on the best 7 months of my career! I had four amazing projects at Stratford: a Kander and Ebb cabaret called Only Love that I had created for Vanessa Sears and Gabe Antonacci, a late night revival of the iconic comedy revue, Beyond the Fringe, a staged concert of the forgotten musical, High Spirits, which had an all-star cast and - best of all – a celebratory gala to mark the opening of the new Tom Patterson Theatre which would pay tribute to the productions and artists who had graced the original venue. And after all that, I was going to go to Koerner Hall, thanks to Mervon Mehta , and direct a production of Stephen Sondheim’s Follies In Concert, starring Eric McCormack, Chilina Kennedy, Cynthia Dale, Thom Allison, Jackie Richardson, Sheila McCarthy, Ben Heppner and many more….along with a 26 piece orchestra conducted by Paul Sportelli. Deep sigh as I let all of those go. The Stratford projects, I’m assuming, are gone for good. But Mervon has postponed Follies one year and we will be doing it in 2021, God and the medical profession willing. What have you been doing to keep yourself busy during this time? I have been so lucky. The one show that wasn’t cancelled was the world premiere of an amazing musical called Super School, written by Dan Abrahamson and Sarah Mucek. I thought it might be cancelled as well, but the visionary head of Bravo Academy, Melissa Bencic, decided we do the whole show on Zoom….and so we did! Auditions, workshops, rehearsals, performances….the works! And this was a musical with a cast of 13, all under the age of 18. It was a a total blast, thanks to the authors, the cast and my astonishing Associate Director/Choreographer Kayla James, who taught me how to embrace the new art form. Then, courtesy of Corey Ross, I was invited to write the Programme Book for the Immersive Van Gogh Exhibit in Toronto and will be doing the same shortly for a Banksy Exhibition in Taiwan and Tokyo. I’m also preparing a new and exciting musical video project for Stratford to stream this winter, but I can’t reveal the details just yet! Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? To my colleagues, I’ve found that staying disciplined keeps the mind from going too crazy. I’ve continued to get up early every morning, shave, shower, dress and exercise. For me, it’s walking a minimum of 10K a day. I’ve tried to feed my family well and healthily and post a lot of my recipes on Facebook and Instagram. I’m proud of the fact that I actually have lost 5 pounds over the past six months. You also need something philosophical to hold on to. I’ve come to embrace the Stoics over the past few years and they really saved my ass during this difficult time. Dip into https://dailystoic.com Ignore the commercials, sign up for the daily email blast and give it a try. Marcus Aurelius survived a plague far worse than this one. To the younger generation, don’t let your tools get dull, don’t let your dreams sink into the dust, don’t let the negativity weigh you down. You WILL get a chance. Time is a pendulum. It always swings both ways. Do you see anything positive stemming from Covid 19? I hope it is the death of the dinosaurs. I hope it kills off the bloated, traditional, complacent ways we led our lives and – for some of us – produced our art. I hope it signals the end of my generation pulling most of the strings in all walks of life. I hope it makes it impossible for any racist, sexist or other forms of judgemental behavior to continue. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Closing down all the theatres for 18 months to two years will definitely have an impact. What is will be, I couldn’t begin to guess. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? The best streaming projects have been the ones that try to find a new way of doing things instead of just producing the same old work over Zoom. We have to learn how to write for the form, to direct and design for it, and most of all, to perform for it. In the future, I see it being a vital tool rather the only game in town. But, as Hamlet says, “the readiness is all.” Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? The joy of communicating something you believe in deeply with other human beings. To connect with Richard, visit his Facebook page: Richard Ouzounian or Instagram: richardouz. Previous Next Profiles Frayne McCarthy Back Frayne McCarthy Canadian Chat Selfie Joe Szekeres Frayne McCarthy is one extremely busy artist. As the Artistic Director of King Street Productions, Frayne works alongside his creative partner, Kevin John Saylor, who is the Artistic Director and owner of the Royal Theatre, Thousand Islands in Gananoque, Ontario. This quaint Eastern Ontario town is one of the most beautiful tourist destinations in late spring, all summer and fall. After two invitations with no response from Frayne, I had moved on. It was a nice surprise to get the answers to the questions from him tonight through Messenger. As you read his answers, you’ll understand and see why he must place some elements of his life in priority. Frayne has liked some of the profiles I’ve published over the course of the pandemic, but his name sounded familiar to me even before I saw his resume. Once I saw it, then I knew where I had seen his work before. I saw Frayne’s performance as Marius in the Montréal production of ‘Les Misérables’ at Théâtre St. Denis. I also saw his work in the original Canadian cast of the musical ‘Napoleon’ at Toronto’s Elgin Theatre. You’ll see from his answers what else and where else Frayne’s life and work have taken him. Thank you so much, Frayne, for adding your voice to the conversation: Tell me about some of the teachers and mentors in our life for whom you are thankful and who brought you to this point in your life as a performing artist. I haven’t had a typical performer’s training, so some of my mentors might surprise you. I suppose I can honestly say that my earliest mentor was my mother. I remember singing with both my Mom and Dad during the longish car rides to visit my grandparents. My mother always had a beautiful singing voice (and still does), and even as a young child I appreciated that she had something more significant in her sound than any of my teachers who taught us ditties at school. Fairly recently, I heard a keepsake cassette-recording of Mom singing with a twelve-year-old me for an aunt and uncle’s wedding, and I realized that, indeed, Mom had the natural talent to have been a professional singer. That sort of thing just wouldn’t have been considered realistic for an English-speaking girl from a rural background in western Quebec in the 50s and 60s…but she was absolutely that talented. In fact, performing never seemed like a possibility for me either. I attended a high school where there was no drama program to speak of, except for the small mafia of popular kids (which definitely did not include me) who seemed to monopolize the class for social time. There were no school plays or musicals, so I was never the least bit inclined to explore Theatre in school. But once I got to college things changed. Heritage College in Hull (now Gatineau) Québec didn’t have a Music or Theatre program, but while I was there, it did have a National Award-Winning stageband comprised of high school grads (that’s grade 11 in Québec) with exceptional talent who came from the separate school board’s feeder school (so, not the high school that I attended). These players were so remarkable that they were kept together as a group by two very caring bandleaders, Bobby Cleal and Heather Karas, who volunteered their time and talent to continue working with these students who had so much musical potential, and to help carry their development further. Bobby, Heather, and this brilliant gang of musicians to which they were committed just came together to rehearse (for no academic credit or financial remuneration at all) because it was thrilling to make amazing music together. And my own life was completely changed when I was allowed to participate as a band vocalist. Now, I know you might be wondering what singing in a band might have to do with Theatre, but I only later came to realize that it had a great deal to do with how I evolved as an actor. I learned to interpret my songs. Acting is storytelling and every song is a story being told through with music; it’s a sung soliloquy of sort. As I explored the feelings behind the lyrics, the dialogue that told these stories, I was becoming an actor. I was privileged to be a real part of this group of brilliant, talented players who, again without a Music Program, went on to win several Music Festival awards including the National College and University top prize and a regional ‘Best Festival Soloist’ – usually reserved for an exceptional instrumentalist – by me, a singer. I will always remember Heather talking through a band arrangement for a vocal number, and I will always remember when, after hearing me sing, Mr. Cleal officially announced that I was in the band. Excellence was nurtured by these great mentors who gave so much of themselves to our young band. Several of the players went on to professional careers in music. And because they took a chance on me and believed in my talent long before I ever took a singing lesson, I had an opportunity to discover my own potential as a performer. Sorry for reminiscing at such length about how I became a band singer, but it really was a catalyst for my personal artistic development. I later went on to study at the Conservatoire de Musique du Québec; I took electives and audited classes in the University of Ottawa Music Department (while I was a full-time student in the Visual Arts Department). Later I studied Vocal Performance for a few semesters in the Jazz Program at Humber College. Some of my music teachers were very helpful, but I made my greatest strides as a singer with my private voice teacher, Bruce Kelly in Toronto, who became my mentor and friend. He took on the mantle of mentor very seriously, and he was a constant and generous source of guidance, information, and support. I had the privilege of studying with Bruce for several years and he still inspires me today. As for Acting mentors, well I learned stagecraft mostly “by doing”, and talking to directors and other actors whom I respected. Much of my formal education was spent in Art studios with a paintbrush in my hand, but I realized eventually that I yearned to be a performer, particularly in Musical Theatre. Rather than go back to school to immerse myself in a formal theatre program, I instead threw myself into as many amateur productions as I could audition for in the Greater Toronto area, where I was living at the time. And it was an amazing education, although I sometimes joke that it was the School of Hard Knocks. I spent many hours learning my lines and lyrics while on buses and subways travelling to rehearsals in Toronto, Scarborough, Mississauga or wherever there was a show that I wanted to be in. I just got myself there. Of course, there were lessons to be learned through every show in which I was cast, but wo very special people stand out as my mentors during this period of my life: Lorraine Green Kimsa was the Artistic Director of Broadway North in North York, and she knew how to push me to be bolder and more confident that I eve thought I could be on stage. She took my shyness and vulnerability and made them strengths. Next, choreographer Nina Falconer, who became like a sister to me, taught me to have fun with dance, and to remember to smile in difficult scenes or through songs of melancholy or sorrow. Nina was never my director, but she was a constant artistic touchstone whom I always trusted when I asked for her personal notes. You can instinctively figure out who you best teachers are, and Nina was one of them. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid even though the media tells us otherwise. How have you been able to move forward on a personal level? How have you been changed or transformed personally? Covid has been a terrible beast. I admire the people who can honestly say they have been positively changed through this period. Like many, I put on a brave face, pulled away from friends and family, took a forced break from my career, followed all prescribed protocols (including double vaccination and then boostered), and I’ve been waiting for things to get better. You know this, but your readers likely are now aware that I co-own the Royal Theatre Thousand Islands in Gananoque, Ontario with my partner, Kevin John Saylor In March of 2020 we shut down our operations before many other theatres, and we’ve remained closed until some limited capacity events were briefly allowed. But the stress of having both our home and the theatre to maintain without an income has been hard on my partner and me. Just because there weren’t any shows on our stage didn’t mean that we didn’t have the regular monthly overhead to pay. Kevin took a job on the Mohawk Territory of Kahanawake, which is his home community, teaching Grades 7 and 8 English. We are grateful for his employment at this time because we need some kind of household income to cover bills at the house and at the Royal. Unfortunately, I know that Kevin who has taught Theatre at the State of New York, has four University Degrees and a Meritorious Service Medal from the Governor General of Canada, is not in the most fulfilling teaching position for someone with his qualifications and artistic experiences. And so, while he’s in the classroom, we’re apart from one another during the week, every week, which is challenging, stressful and depressing. It’s an entirely different mindset than when we’re separated for creative work, like a show in a different city. So, I suppose the greatest challenge these days is maintaining a degree of optimism for the future. We need to take care of our mental health more than ever because, honestly, Covid has not presented any positive experience in our household at all. We are thankful that we and our circle of friends and family have not suffered any casualties. How have these last few months changed or transformed you professionally? Okay, I appreciate the nuance in this question, but again I’m amazed when I read about people who say that their creative careers have been transformed because of the pandemic. I’m not saying that it can’t be, but that I respect and tip my hat to these artists. Before Covid hit us all sideways, I was enjoying a bit of a career reboot. I had just come off a back-to-back gig in two of the most popular shows in Québec. I spent a year playing Harry Bright, a role I’d dreamed of playing in the spectacular multi-million-dollar production of ‘Mamma Mia!’ for Just for Laughs Productions in Montréal and Québec City. This French language production was a bold and beautiful (and frankly much improved) new version of the popular show. I knew well from being cast in the Mirvish Production in Toronto. Director and translator Serge Postigo’s reimagining of ‘Mamma Mia!’ was one of the most joyful experiences of my stage career. And while Kevin and I were apart, we were both creatively engaged (he at the Royal) and happy, and we managed to see each other quite frequently. Mamma Mia!’ then dovetailed perfectly with my next show, which was quite possibly the most prestigious stage production of the year in Montréal, Michel Tremblay’s and Andre Gagnon’s gorgeous ‘Nelligan’ for Théâtre du Nouveau Monde. I played the role of the father, David, in the piece and I was so captivated by the intimate family drama about unconditional love being impacted by mental illness that I collaborated with Michel on an English language adaptation of the show. I didn’t have an agent but was quite confident that I would be able to attract bilingual representation with my work in ‘Nelligan’. I was also very certain that I had acting work on the table for several months still as I had already been tapped to continue on as David Nelligan through the next summer in Québec City. The production was actually on tour throughout the province when we got word that we were cancelled. Overnight, every creative person I knew was unemployed. And soon after, as I tried to reach out to agents, I got the same unsurprising response that they were not taking on new talent, especially not at this time. Yes, some artists have tried to embrace the internet and present themselves online through live streaming. I was (am) one of them. I was very excited to be one of the first batch of performers selected by the National Arts Centre for their Canada Performs series. My one-hour live show was called ‘Émile Nelligan & Michel Tremblay in Poetry/en Poésie’ and it was well received Then Kevin and I worked with the American Federation of Musicians, the Musicians’ Trust Fund and the Union of Professional Musicians of Eastern Ontario to present several concerts at the Royal Theatre. And we also helped to produce twice the First Peoples’ Performing Arts Festival of the Thousand Islands online. But I’ve discovered that I do not have a particular passion or aptitude for the technical aspects of this very specific forum/medium that is the very particular specialty of some Creators. Sadly, the glut of amateur video production may have devalued the work of creatives working seriously in this medium. And the flood of free online performances of all sorts, I think, has somewhat devalued the work of many professional performing artists. But we need to move forward, and so, at the Royal, we have invested in equipment and continue to collaborate with the Union of Professional Musicians of Eastern Ontario. We hope we will be able to improve our online presentation when the gathering of groups for the purpose of livestreaming is allowed again (it’s been restricted, on and off). The Royal Theatre Thousand Islands is an amazing space acoustically for presenting live music, and musicians love the vibe of the place. So we do what we can, when we can, to use our space creatively, but that is not why my partner and I bought the Royal in 2013. Kevin and I bought a theatre because we are both actors and directors and we hoped that we would be establishing an exciting performance venue in Eastern Ontario, but it’s been extremely hard, and Covid has only presented more challenges. But has Covid changed or transformed us as artists? I guess it has made us fighters. We will not lose our dream, and so we are adapting at every turn, as best we can, and we do so with determination. And I hope that I will personally be able to get back on stage soon as well. In French or in English, I need to be performing. Do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last two years (and moving into a third year)? The Canadian live theatre scene has been in limbo for basically two years now. I hear about actors who are looking forward to picking up contracts that were deferred all this time, but they are nonetheless doubtful that the shows will go on. I, myself, was offered a since-postponed ‘Nelligan’ concert tour, that is now being reconsidered, but no contract has been offered because everyone is still in a wait and see holding pattern. I completely understand. As theatre owners, Kevin and I are concerned about public safety, and we know that we are not alone. The global pandemic hasn’t run its course yet…and so we need to resign ourselves to being patient awhile longer. We know of theatres and companies that have closed permanently since Covid started, and so, yes, fewer performance opportunities and spaces will definitely affect the Canadian live theatre. Interestingly, I have many actor friends in Paris, France, whose shows are still going on and being sold to full-capacity houses. The spectacular mega-production French adaptation of ‘The Producers’ is completely sold out and has now announced a long-extended run. Meanwhile, in Canada, the huge success of Mirvish’s ‘Come from Away’ had to close completely because there wasn’t enough government financial support or understanding of how important this production was, what it represented or how terminating its theatrical run hurts a Canadian industry as well as many satellite businesses that rely on the success of the arts. But is it reckless for big shows (or shows of any size) to still be running in France? When I hint at my concerns for my friends’ and the public’s safety, I am gently rebuffed…so I say nothing further. The subject is so completely polarizing that I don’t want to lose friends, either here or in Europe. I see all sides. As an actor and theatre presenter, I am desperate to get back to business as usual, but I don’t want to be doing so in a way that endangers fellow artists or patrons. And when you are talking about someone’s livelihood in the performing arts, it’s even more difficult because our industry was the first to be completely shut down and has always seemed to be the least understood in terms of how to support our professionals and how to get show business back on its feet. How much our own Canadian theatre scene will change remains to be seen, I think. We still need to see how many companies survive, and how many theatre professionals have moved on to other employment opportunities. There is certainly going to be a period of rebuilding our industry required for awhile. What excites/intrigues/fascinates Frayne McCarthy post Covid? Post Covid? I want to get representation (remember, I’m in agent limbo) and see if I can get back on the boards and in front of the camera a bit more. I am also starting work on a second English language adaptation of an opera by Michel Trembly and composer Christian Thomas. In a perfect world, I’ll get back onstage as a performer. ‘Nelligan’ will be workshopped and produced.; I’ll work with Michel and Christian on ‘Solemn Mass for a Full Moon in Summer’; and maybe some light might also shine on ‘The Virgin Courtesan’, a musical I wrote with the brilliant Blair Thomson. And, of course, there is the Royal Theatre Thousand Islands, which is the 165-seat vaudeville theatre that Kevin and I run in Gananoque which I hop will become better known and appreciated as a great live-performance venue in Eastern Ontario. How many actors do you know who would go so far as to change their lives to buy, restore, and operate their own theatre? Not many, probably, because it’s madness! But Kevin and I love the Royal, and we have surrounded ourselves with great people who, like us, see wonderful potential for making our town a much more important arts destination in Canada. What disappoints/unnerves/upsets Frayne McCarthy post Covid? I supposed the idea of needing to start so many things from scratch. This is a weird business where you are quickly forgotten unless you are in the immediate creative mix. You’re apparently only as relevant as the last show you were in. I’ve always straddled Toronto and Montreal because I don’t seem to be one of the usual suspects in either city, and now I live in neither, but between both. I have been written off as retired by some people, and I just want to scream from the mountaintops that I’m still here, probably more dedicated to performing than I have ever been in my life. But I suppose that’s up to me, to make a stronger impression. Where does Frayne McCarthy, the artist, see himself going next? GOING next? Is that a trick question? Because if I could choose to actually go anywhere other than here (Gananoque/Montreal/Toronto), it would be to return to Paris to perform. I was blessed to live there for a time, and that city just felt so perfectly like home. Kevin loves it there too, so if there was a way to work in Paris again, and bring my Kevin along for the ride, and somehow leave the Royal in the care of a brilliant Manager (oh, the dream of being able to hire a Theatre Manager is so huge for us) that would be amazing. And seriously, I do see myself returning to Paris at some point in the future. I think I have more professional cachet in Europe as the first French Marius in ‘Les Miserables’ and the first French Capitaine Haddock in ‘Tintin, le temple du soleil’ than I have for any of my work in Canada. But next…-most immediately? I want to see my English language adaptation of ‘Nelligan’ come to life on stage so that I can continue to work on it with Michel Tremblay. And I will also continue working with Michel and Christian Tomas on the English language adaptation of ‘Solemn Mass for a Full Moon in Summer’. I also want to get an agent…and in jig time, I’ll be booked in the Big Time…Oh, what a dream! (Sorry, I geeked out there on a bit of ‘Gypsy’) Yeah, I want to get back in the saddle! And Kevin and I, and our Board of Directors, and our team of Royal Family volunteers will continue to build on our Royal Theatre Thousand Islands brand as an important Arts Venue in the Best located tourist destination in Ontario! Where does Frayne McCarthy, the person, see himself going next? Oh, you are being tricky! I see what you did there! Frayne the Artist and Frayne the person have been the same for so long that I hardly distinguish between the two. Frayne is only perhaps less the Artist when he is “Frayne, the son of Teresa and Kevin”…but even then, as I mentioned, my Mom was always a singing mentor; and both Mom and Dad have been my greatest supporters as an artist, and my Dad is even on the Board of Directors of our Production Company! I’m incredibly blessed to have them both so fully involved in all facets of my life. My friendships, too, nearly all revolve in some way around the world of the arts. And my relationship with Kevin is also deeply rooted in our artistic partnership. We met working on Theatre together; grew closer through working on Theatre together; and now we own and manage a Theatre together! Kevin makes me a better person, but he also makes me a better artist in every way possible. Frayne the person will go wherever Frayne the Artist needs to be. RAPID ROUND If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? I discovered that my mentors were people whom I wished to somehow emulate, and so I thank you for your example, support and guidance. If you could say something to any of the naysayers in your career who didn’t think you would make it as an artist, what would it be? The news of my retirement has been greatly exaggerated. What’s your favourite swear word? I honestly don’t like to swear. Swearing is a lazy form of expression, and I don’t think much of it in play dialogue either. What is a word you love to hear yourself say? Gorgeous What is a word you don’t like to hear yourself say? Disingenuous What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? To that kid who was mercilessly bullied, I’d say “It gets better.” With the professional life experience you’ve gained over the years, what would you now tell the upcoming Frayne McCarthy from years ago who was just in the throes of beginning his career as a performing artist? Go to the events and be seen; go to the parties and mingle and do your best to make friends and network with people in the performing arts. What is one thing you still wish to accomplish personally and professionally? I want to record a solo album while I still kinda like my own singing voice. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. I wish I could live in the pure euphoric joy of being cast as Marius in ‘Les Misérables’. Would Frayne McCarthy do it all again if he was given the same opportunities? Yes, Frayne McCarthy would do it all again, but I think with a little more confidence, focus and drive. To learn more about The Royal Theatre Thousand Islands in Gananoque, Ontario, visit https://www.royaltheatre.ca/ Social Media: Facebook: @RoyalTheatreThousandIslands AND Twitter: @RoyalTheatreTI Previous Next Profiles Allegra Fulton Back Allegra Fulton Looking Ahead Chris Franpton Joe Szekeres I really I wish I had the chance to speak with Allegra Fulton either in person or on Zoom. You’ll see from her responses below that her energy and enthusiasm for the performing arts community and all its components were contagious to me. I liked how she said a couple of things that might be considered grandiose, but that’s okay because we all have to think big and look ahead as we emerge from this pandemic. Last year I had the opportunity to see Allegra perform in ‘Between Riverside and Crazy’ at Toronto’s Coal Mine Theatre and in ‘Sweat’ at Canadian Stage. Two opposing different characterizations but terrific work, nevertheless. Make sure you check out her personal website. I’ve included its link at the end of Allegra’s profile. Here is a lady to keep an eye on as I want to see more of her work onstage when it’s safe to return to indoor theatre. Thank you for adding your voice to the conversation, Allegra: 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. For me, it’s been like a grand Buddhist exercise in surrender, acceptance and radical kindness. Meeting oneself in such global difficulty, amidst abounding fears and frustrations, and deep sadness everywhere, I’ve found my best way was to turn in and sit with all my own terrors and attempt to stay curious to my own inner landscape reflecting on what is…and not too much on what was or what will be. No big future tripping, if possible. So, if anything, I’ve used the time to really pause and to get to know my inner world better. The life of an actor, of course, is a long deep dive into the human psyche, and this experience is proving a profound one. 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? More than ever, I’m glad that to be a working actor, at least in Canada, one must develop one’s talents in many areas, and learn many mediums. I’ve come from the theatre and my delight and curiosity continues to lead me back to the theatre. But I’m grateful to have cultivated skills in all kinds of arenas where an actor is needed. I also really enjoy moving between disciplines for each informs the other. I know that working in TV and film has made me a better actor on stage and visa versa. Working with a microphone, in animation, or commercial voice over, even audiobooks, each have specific demands, and continue to sharpen one’s brain, one’s elasticity, one’s instrument and which is hugely important to continue to do. I think everyone has been wonderfully impressed with themselves learning new platforms like ZOOM and being able to continue storytelling, in such wonderful new ways. I find the hybridized forms of theatre and music, and even dance, to be very exciting and exhilarating. Storytelling is storytelling, and I think we are so lucky at this moment to have so many platforms available to us to keep doing that very thing. But of course, what makes live theatre so special, and what we possibly understand now more than ever, is that wonderful energy and kinetic connection in a room, a small room, a huge room, even a stadium…The communal experiencing of story, and that’s incredibly special. The energy one plays with onstage, with one’s fellows, and with the audience, is almost a metaphysical ceremony of sorts. That sounds a bit grandiose, I know, but I believe it works in the same realm. And precisely for that reason, theatre will never die. It will continue to morph as it must each generation and century, as it has since it began many thousands of years ago. For the theatre needs only one actor and one audience to begin a ‘play’. I look forward to that exchange again. As a professional artist, what are you missing the most about the live theatre industry? The people. The energy. The thrill. The LIVE-ness of the moment, the NOW-ness of it. That no one can stop, rewind, pause, go to the bathroom, go to the kitchen and get chips, come back…it’s all happening right now, and the intense focus of both actors and audience is a very sacred and healing communal experience. I look forward to that again. 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? That I have a job. But I feel that way on each project, frankly. Describe one element you hope has changed concerning the live theatre industry. The outmoded and long entrenched systems that no longer serve or help us make good art. There are many revolutions going on globally right now, and I hope it all seeps into every facet of life, and that change happens quickly and invites everyone to the table. Our world is in for a really large treat as massive amounts of new stories and perspectives are suddenly being given voice. It’s gonna be way more colourful and way more fun! Just watch. Explain what specifically you believe you must still accomplish within the industry. Oh my! I have so many roles I may never get to play, but I have them in me, and I study them and crave them. I have so much to learn, to hone, to explore. I’d also like to keep directing and working with scripts and writers and …’accomplish’ is a tricky word. I had wanted to do every Shakespeare in the canon, but I’m only just a over a third of the way, on that count. Tennessee Williams, more Chekhov, Ibsen, Pinter, Euripides, Kroetz, Churchill, Birch, Drury, Nottage, Parkes, Guirgis, and so many wonderful brand-new writers. Again, the searingly complex human psyche, yes, even by the aforementioned dead male playwrights, is hard to resist wanting to tackle as an artist at the top of my game. But to your question…Is it kinda boring to say that I don’t care to ‘accomplish’ anything but continue to create, simplify and learn better how to plumb the depths of the human condition? Sounds a bit grand, but it’s true. (My note back to Allegra: that doesn’t sound boring; to me, that sounds like the truth of the actor’s voice.) And then there is the question of passing the torch and mentoring, which I am divinely lucky to do quite a bit of. Somehow, quite by accident, I’ve collected all these beautiful young actors, playwrights, creators who come to me for coaching, advice, a good cry, a good laugh, and they teach me too, and fill me with grace, excitement and energy. I’m not shy to say that I do have a lot of ideas and opinions about things, and I am a good acting teacher for may. It’s all very quiet and unofficial, but it feels like my best way to pass along how much I’ve learned from so many great teachers along the way. 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. I don’t think ANYONE will relish dwelling on this time. As I discovered early on in the pandemic, there is rathe little written about the plague of the 13th, 14th, 15th century, or the flu pandemic of 1918. I should think we’ll all have had quite enough of it by then, thank you very much. But we will better appreciate and understand familiar lines like, “A pox on both your houses!” (Romeo and Juliet) As an artist, what specifically is it about your work that you want future audiences to remember about you? Depth, truth, risk, and glee. My dear colleague and friend Alexander Thomas, with whom I was lucky enough to act with in ‘Between Riverside and Crazy’ at Toronto’s Coal Mine Theatre turned to me one day and said: “Allegra Fulton: Classy but goofy.” I think that summed me up perfectly. Visit Allegra’s personal website page www.allegrafulton.com . You can also follow her on Insta: Cinesylph Twitter: Allegra_Fulton Previous Next Profiles Rick Roberts Back Rick Roberts Theatre Conversation in a Covid World ... Joe Szekeres Rick and I had a good laugh during our Zoom conversation when he said he’s always on the verge of quitting. He said since this pandemic has started that he has been threating to quit the whole time. But I was glad to hear that, as a creative person, he’s in it for the long haul. He loves being an actor and he loves writing. As actors, you have to wait until someone asks you to do it. Both a stage and screen actor for over three decades, Rick Roberts is arguably one of Canada’s most versatile actors. He recently starred in the CBC series Fortunate Son for which he has been nominated for an ACTRA Award. Recent appearances include Nurses (Corus/Global), Coroner (CBC), Frankie Drake (CBC), and Sensitive Skin (TMN/Movie Central), Between (Netflix). He starred in the series This Life for the CBC. Recent features include North of Albany (Slykid and Skykid), All My Puny Sorrows (Mulmur Feed Co.). He will appear in the upcoming video game Far Cry 6. In 2013, Roberts starred in the CBC movie Jack where he played the role of the late Jack Layton. His performance garnered him the Canadian Screen Award and the ACTRA Award for Best Actor. Other work includes guest starring roles on Saving Hope (CTV/NBC), Copper (BBC America), Cracked (CBC), Republic of Doyle (CBC), Murdoch Mysteries (CBC), Crash & Burn (Showcase), Haven (SyFy), Zos (Whizbang Films), Three Days to Jonestown (Next Films), and was featured regularly in the hit CBC series, This is Wonderland. Rick has headlined the series An American in Canada (CBC), L.A. Doctors (CBS) and Traders (CBC). A popular fixture on Canadian stages, Roberts recently toured with Why Not Theatre’s hit production of Prince Hamlet. Other recent favourites include Animal Farm, Waiting for Godot, The Accidental Death of an Anarchist (Soulpepper), Within the Glass, Enemy of the People, (Tarragon), Proud (Belfry), Julius Caesar (Citadel Theatre) and the title role of Zastrozzi (Stratford Festival). He was in the middle of rehearsing Copenhagen at the NAC when the pandemic hit. As a writer, Rick’s work, Mimi (which he co-wrote with Allan Cole and Melody Johnson) premiered at The Tarragon Theatre and was nominated for a Dora Mavor Moore Award for Best New Musical. His play Kite premiered to critical acclaim earning numerous Dora Award nominations for writing and production. Other writing credits include Nod (Theatre Gargantua), Fish/Wife (Tarragon Theatre) The Entertainers (Offstage Theatre Company) and short film The Birthday Cake. His newest play will premiere at a major Toronto theatre in 2020. Additionally, he has several television scripts in development. He is a graduate of the National Theatre School of Canada. Thanks for the informative conversation, Rick: Many professional theatre artists I’ve profiled and interviewed have shared so much of themselves and how the pandemic has affected them from social implications from the Black Lives Matter and BIPOC movements to the staggering numbers of illnesses and deaths. Could you share and describe one element, either positive or negative, from this time that you believe will remain with you forever? I was lucky just to have the experience of ‘Orestes’. To salvage an aspect of theatre from this…I was doing a play at the NAC which was interrupted and then cancelled on account of the pandemic. It was kind of like a slap in the face and it took a while to come to terms with the reality of that. Even though ‘Orestes’ was a gathering in a Zoom room, there are things I will carry forward from this experience. For example, what works theatrically that you can imagine in a live space. Some of it is the appreciation of gathering in rooms with people. There are lots of similarities to having rehearsals in Zoom rooms and there is a real sense of community and connection around all these people, for the most part, never left their homes to do it. There was a real camaraderie and that mixture of having the experience made me long for the other experience [of being back in a theatre] again. The other thing I will carry forward is a real ‘talking to myself’ in a kinder fashion around downtimes, around when you’re laid low. In this case, I think the constant stress of the pandemic eats away at you, and early on I felt certain I would not work at all this year and that whole community seemed to be exploded. I will go through manic periods of creation and then down periods of just not being able to get out of bed. It was because I knew the cause, the constant tension of this pandemic and what it meant. I was able to go, “Today is okay to be down today.” And I’m hoping I can take that frame of mind to other things when there’s not a pandemic. It really has helped my creative process in terms of going “It’s not happening today” rather than muscling something through. The good thing once again of the ‘Orestes’ experience – it was never a done deal. Even when the last lockdown came, we were in the middle of rehearsals and we had people isolated in two different theatre spaces but wildly separated for practical reasons. In the middle of rehearsals, we had to move three mini theatres back into people’s homes. I was expecting a phone call saying, “It’s over. This is too much” from ‘Orestes’ being the season opener to not happening to happening in January and then changing it to a streamed play. Is that technologically possible? Do we have the time? So, at every point there was this feeling it could not possibly happen, and you would be heartbroken, but you knew why. Have you learned anything about human nature from this time? Oh, man. What I learned about myself and I guess it is about human nature too is the mask wearing and people not wearing masks. As the pandemic evolved and the realities of it, it’s such a stressful thing and it has to do with people’s relationship to authority a lot of times and what we are as a society. If I see someone not wearing a mask or not wearing it properly, I’ll have a reaction, but I’ll also have to be generous and go that I don’t know that person’s story. I don’t know what brought them to this place. Are they going to barrel through and not respect social and physical distancing or wear a mask? It’s a stressful time, and stress brings out different behaviours in people. I guess the human nature part is that everyone has a story which brings them to the place we are now in. The other thing and it may have to do more with human nature is that we ‘ve been steered into this hyper individuality through the neo-liberal project from the 80s. That we accept that, as human nature, we are all in it for ourselves and it’s every person for themselves. It’s not a reasonable way to address a pandemic in that we are social beings. And now we have to navigate that reality with this other reality that we also see ourselves as individuals. So, ourselves as social beings is being pushed into the fore, and we have to re-learn them. With neo-liberalism, it’s like we got hit by a car and now we have to learn to walk again. How has your immediate family been faring during this time? As a family, can you share with us how your lives have been changed and impacted by this time? My kids live in Toronto and I live in Hamilton. So, we’ve had great moments of togetherness and then the challenge of navigating the rules that are often not clear. So, my kids are also hyperconscious of social distancing and mask wearing are up to speed on that. We hang out in a park, we’re very conscious of all this, and yet we’re also aware if we’re allowed to sit on a bench or not. That becomes hard to manage and make a plan. We’ve managed to make plans. My siblings and my parents, we’re more in contact than we’ve ever been through weekly Zoom meetings which is not how we operate. We are now way more aware of each other, for better or for worse, mostly for the better. All the nieces and nephews get on that call and many more family reunions than ever. Generally speaking, the stressful part of employment and separation is there. The positive parts of recalibrating and reflecting which has been the opportunity for a lot of people is also there. We’re lucky we can do both. I know none of us can even begin to guess when professional theatre artists will be back to work. I’ve spoken with some who have said it might not be until 2022. Would you agree on this account? Have you ever thought that you might have had to pivot and switch careers during this time? That seems likely. There might be little pockets and forays but there may be the positive be such as the experiment with ‘Orestes’ and how does online participate in the comeback, and also smaller events. But in terms of theatres and large buildings with groups of people together? I feel right now 2022 seems pretty likely with even the logistics of opening a building and planning a season. I think a lot of artistic directors are going to have cold feet after this. Just to even open a building instigates a big flow of cash when things are tight with the likelihood you could close down. It’s not good for theatre if you’re not even able to predict for theatre how things are going to look in a few months. I think film and television can pivot a little more, even though it’s more expensive. If you asked me a few weeks ago, I probably would have said, “Oh, we’ll be back in September”, but 2022 seems more responsible. I don’t like to think in terms of a trajectory because I don’t know what the rest of the year is going to look like. I’m going to assume it’s going to be sparse, but that’s what I thought about last year and a bunch of interesting things came up in the middle of the pandemic, so I don’t know but I’m ready to crash again. The pandemic has put us all in the same basket. I’ve talked to people who’ve said, “I’ve been thinking about the future so I’m going to study this.” We see people whose side hustles are blossoming into something, whether or not we continue, it’s a bit of palate cleanser on the positive side. Negative side – it’s an opportunity cleanser. If another theatre company said, “Okay, it’s safe now. Bring ‘Orestes’ here. Would you consider it? Do you feel confident that you can and will return safely? Tarragon is staging ‘Orestes’ but if the NAC said, “You know what?” I don’t know what I would do. There are so many elements of the story now, I guess it would have to be a conversation about that. The original conversation was a theatre production with online elements, and the online elements were too tricky to consider. And then it reversed, and now “Can there be any live elements?” I added a lot of stuff to ‘Orestes’ that I really love right now that I’m not sure could live on stage. It would be like cutting out some things now. My knee jerk reaction right now is No. My knee jerk reaction is ‘This is what it is.” There are lots of smart talented people who would go, ‘What about this?’ and I might go, “Ooooo…hmmmm” The experience of doing it online with the experience and the involvement of the creative team and how it’s shifted to the screen and online as its own space – even now, thinking about it, it’s a unique space because the actual performing happens remotely but the actual stage is the screen which is unlike theatre, film and television so it’s its own thing. This has now been crafted over the last few months to be that. At some point, yes, I do feel safely that we will be able to return. I remember reading early in the pandemic about the plagues that shut down the theatres in Shakespeare’s time. The Spanish flu had similar conversations around. It became clear with the waves of opening and re-opening that we may not feel that definitive moment of the end of this plague, and it might just be a gradual shift into another normal, and how much that will feel like the old normal? It was the timing of the BLM movement in the plague that still has to be reckoned in live theatres, and that conversation is ongoing. Cleansing things are happening. Taking time to come back in a new way? For example, what does theatre look like? Do we need official big buildings for it to occur now? What about crowds? I know Ravi Jain at Why Not is asking those same questions in a really serious way. These all have yet to be worked out. The return to live anything is going to be gradual where we will just start to feel like, “Hey! We’re doing it again.” I do feel that in local theatre history that this time is going to be a big historical marker for lots of reasons and Covid might just be the emblem of that Tectonic shift that has been a long time coming in Toronto and Canadian theatre. This time of the worldwide pandemic has shaken all of us to our very core and being. According to author Margaret Atwood, she believes that Canadians are survivors no matter what is thrown in their path. Could you share what has helped you survive this time of uncertainty? What has helped me survive? I feel like I’m talking about ‘Orestes’ since I was smack dab in the middle of it. (and Rick laughs) I do think that theatre people do have that trait, not necessarily Canadians. Passionate people who are always inventing things and solving problems was really on display in putting ‘Orestes’ online as everyone was inventing new things as we were on the fly with the production concerning deadlines. Everybody was adapting their skills to something new that we didn’t know the rules of it. The sad part is with theatre and any live performance, often when you hit a rough patch as an actor you can talk to your parents and it’s “Hey, that’s the life you chose” which is true. I know people who had work lined up for over a year and all of it was wiped out in a space of weeks, and there is no life decision you could have made differently. Musicians and theatre people have been laid low by this pandemic but what I have seen the things we bring to any rehearsal or into our lives is resourcefulness, generosity, community mindedness and also you take the responsibility for the role you’ve taken on – whether as an actor, director, designer, and you carry that forward into a community. I’ve made lots of connections with theatre people on porches. You see the sadness of the loss and we also see the resilience and the resourcefulness musicians and theatre people have in moving forward. I attribute the term ‘theatrepeopleness’ to these individuals. It’s just spoken here for the first time. The good thing about Zoom is to mute yourself and to watch technical achievements and the conversations and people navigating. It’s like putting on a play while building a theatre in a landslide. You get to be a witness to all of this in an online environment that you might not get the opportunity to see if you’re in a physical building. I know when I’m back in a rehearsal room, and I know I will be, I will be hugging people and crying a lot. Imagine in a perfect world that the professional theatre artist has been called back as it has been deemed safe for actors and audience members to return. The first show is complete and now you’re waiting backstage for your curtain call: a) Describe how you believe you’re probably going to react at that curtain call. I’ll be weeping. Funny you should say, we were in the middle of rehearsing ‘Copenhagen’ at the NAC with Jillian when the pandemic hit and we had our first stumble through. We said, let’s just do this stumble through. Some of the theatre people would be there and we thought let’s just do it even though it wasn’t going to be performed. We were working out stuff like it was a performance. Part of your brain is going why should we worry about this? We were just on the verge of being off book. We would rehearse all day, grab a quick bite, meet in someone’s hotel room to run lines so we couldn’t do it anymore. Go to sleep and then all day next day. It was a real accomplishment. ‘Copenhagen’ messes with your mind. My dream is to go back and perform that play will Jillian, Jesse LaVercombe and Allegra Fulton and to complete that. My emotional reaction to that run through is weeping and enormous sense of gratitude for the people who sat and who were involved knowing the play was going away, I would like to put a bookend on that and have an opening night for ‘Copenhagen’ and to stand in front of an audience with that, however that may manifest itself. b) There is a crowd of people waiting to see you and your castmates at the stage door to greet all of you. Tell me what’s the first thing you will probably say to the first audience member: The weird part for me is I love talkbacks and Talkback Theatre. I get really shy in lobbies after shows, and I always try to skirt around them. I don’t think I’ll do that anymore. I’ll walk into lobbies. It’s so hard now to even think about embracing somebody of meeting an audience again, but I don’t think I’ll ever take an audience for granted ever again. That people coming and showing up to see something, I’ll never take that for granted again. I feel more a sense of camaraderie and sense of purpose with the broader theatre community which includes the audience. Previous Next Profiles Sarah Dodd Back Sarah Dodd Self Isolated Artist Ian Brown Joe Szekeres Since I’ve been reviewing for On Stage, it has been most rewarding if I become aware that Canadian professional actors and artists are following the blog and reading the articles. I was pleased when I received a message that Sarah Dodd started following me on Twitter. I had to think for a minute as I did recognize her name. And then it came to me that I saw Sarah in a wonderfully crafted performance of ‘The Front Page’ at the Stratford Festival last summer. Just this past fall, I had read Sarah would appear in a production of ‘Marjorie Prime’ at Coal Mine Theatre in the winter with a stellar cast that included Martha Henry. Sarah speaks highly about her experience in her profile. This play was one I did not want to miss. But I did as another On Stage Blog reviewer really wanted to see the production. And by opening night, most of the tickets were gone. Note to self: Don’t do that again if you see the cast is a dynamite powerhouse. In our line conversation, Sarah told me she likes to work on new plays as it is her favourite to do. Her professional background is quite impressive. Since 1996, she has been working off and on at The Stratford Festival and has worked with some of the country’s finest performers including Brian Bedford and Martha Henry. Other appearances include Tarragon Theatre and Nightwood Theatre. Sarah is also a recipient of two Dora awards, one for her work in Daniel McIvor’s ‘Marion Bridge’ and directed by Mr. McIvor himself, and the other for her ensemble work with thirteen other women at Nightwood for ‘The Penelopiad’. The more online interviews I’m conducting, the more I would love to meet these individuals in person. I’m hoping that will begin once this pandemic is lifted: 1. How have you been keeping during this crisis, Sarah? How have you and your family been doing? At the beginning, I didn’t do well. I walked into a grocery store after rehearsal around March 13th and everything was gone. No milk, no toilet paper, no meat, no canned goods and I immediately had a panic attack. I called my husband and he helped me through it. I came home empty handed and he got up at 6:30 am the next day and found the things we needed. He’s an incredible guy. Since then, I have tried to think of this time as exactly what it is…time. I get to be with my son, and I get to be with my husband. We are healthy, we love each other, we laugh a lot and there have been many desserts baked. The most important thing we have done is allow each other to have bad days. You want to stay in bed? No problem. Don’t want to talk? That’s fine too. Need to cry? Here’s a shoulder and a chocolate brownie. 2. As an artist, what has been the most difficult and the most challenging for you at this time? Seeing all of our community lose their jobs. It is overwhelming and devastating. I worry about how artists are going to pay bills and unexpected expenses. I worry about lost opportunities for younger actors who were about to explode onto the scene. I worry about the new work that has been cancelled and may never be seen. I worry that some theatres will have to close for good. Also, I desperately miss my friends and the rehearsal hall. 3. Were you involved in any projects (pre-production, rehearsals or production) when the lockdown occurred? What has become of these projects? I was in the first week of rehearsals for Susanna Fournier’s ‘Always Still the Dawn’ at Canadian Stage. It was two one acts, directed by Severn Thompson and Liza Balkan. I was in a room with three brilliant actresses: Sochi Fried, Fiona Sauder and Krystina Bojanowski. Across the table were two remarkable directors and the astonishing Susanna Fournier. Heaven! We started on Tuesday and by Friday it was over. Gone. It was shattering. Brendan and Monica at Canadian Stage were so good with us and very transparent about what was happening. I am forever grateful for their care. I have been told that we will be back, I just don’t know when. I was also going to do ‘Meet My Sister’ by Bonnie Green at the Lighthouse Festival. Liza was going to direct this, too. So, needless to say, Liza and I have had some virtual cocktails. We have heard that the show will be in the 2021 season. 4. What have you been doing during this time to keep yourself busy? My son is going into high school next year, so I’ve been helping him with his homework. He has approximately 4 to 5 hours a day. I help him with the math and science, my husband helps with English and French. I’ve also been doing a lot of gardening, walking the dog and reading. Lately, I’ve been attempting yoga, which has proven harder than the algebra. I like the lying down on the mat part and breathing. I also stay busy by panicking and drinking “a glass” of wine. 5. Do you have any words of wisdom or sage advice to performers who have been hit hard by the pandemic? Any advice to those new graduates from the theatre schools who have entered the industry at this tumultuous time? For graduates, I wish every theatre program in the country would set up a mentorship program. When you graduate you are given a mentor whom you can contact in times of uncertainty. For performers, I have no idea what advice I could give. I am at a complete loss and I think that’s okay. I have no clue what each day is going to be like and I’m reluctantly learning to take this one day at a time. I do know that as soon as this is over, I’m going to see a lot of plays. 6. Do you see anything positive stemming from COVID-19? I hope that the government takes a long hard look at the treatment of vulnerable persons. The elderly, women, and children in violent homes, the homeless. I’m hoping that long term care facilities will be overhauled, and that affordable housing will open up. It was easy enough for the government to say, “Stay inside”. Now, they need to provide safe and affordable places to do it. On a lighter note, it’s been nice to be able to hear cardinals without the din of traffic. 7. Will COVID-19 leave some lasting impact on the Canadian performing arts scene? I hope not. I think initially it’s going to be very difficult for institutions to assure audiences that it’s safe to come back. Once, we are able to assuage any fears, I think everyone will be overjoyed to get back in their seats. Artists are a sturdy folk. As soon as we are given the “all clear”, we are back at it with hearts open. 8. Some artists have been turning to You Tube or streaming/online presentations to showcase and share their work. What are your thoughts and ideas on this? Do you see any advantages or disadvantages? Will You Tube and streaming become part of the ‘new normal’ we are hearing so much about? My son and I have been watching the National Theatre and Stratford Festival live YouTube casts. It’s been great way to introduce him to different plays and interpretations of Shakespeare. He loves a good lighting grid and raucous stage fight, but even he said “it doesn’t feel the same”. He’s 13. The audience and the performers feed off each other, we create the space together and because of that, every night is different. You can never rebroadcast that experience. I think it’s a great advertisement tool. Anything that draws more audiences in is fantastic. 9. What is it about performing you still love even through these uncertain times? I am really lucky because I was performing ‘Marjorie Prime’ a few weeks before the closures. It was one of the best times I’ve ever had. We were welcomed by Ted and Diana at The Coal Mine Theatre with such trusting and open arms. Stewart Arnott directed us into his delicate and moving vision of the play with such heart and humor. Martha, Beau, Gord and I were a loving quartet. We shared a dressing room, laughed our butts off, shared stories and experiences and we kept Martha well stocked with chips. If anyone missed or jumped a line (and we all did it), without a beat the other person just moved on. We listened to each other, we trusted each other, and we respected each other. It was perfect. That’s what I love. That is what keeps me going. That is what I hope for every artist: Love, Work, Community, Respect. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he asked his guests at the conclusion of his interview: 1. What is your favourite word? Welcome 2. What is your least favourite word? Actually 3. What turns you on? Invitations 4. What turns you off? Explanations 5. What sound or noise do you love? My son’s laughter 6. What sound or noise bothers you? Shouting 7. What is your favourite curse word? Dick 8. Other than your own at this moment, what other profession would you have liked to try? Architect 9. What profession could you not see yourself doing? Masseuse 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “I loved you in ‘Paradise Lost’” Previous Next Profiles Jonathan Wilson Back Jonathan Wilson Moving Forward ​ Joe Szekeres It was great fun to reconnect with Jonathan Wilson once again after I had profiled him over two years ago. If you wish to read the first time he and I spoke, please go here: www.ourtheatrevoice.com/items/jonathan-wilson We both agreed on how important it was to try to remain positive in the changes once again regarding Covid. Jonathan's doing all right these last two years and adds: “Life is good. You’re always reinventing yourself even when you think you’ve finished the work. It’s always a new challenge. The other day I was speaking with someone about starting at zero periodically. That’s not meant to sound negative in any way, but it’s a reminder we’re always learning and always moving forward.” For the first time in forty years, Jonathan doesn’t have an agent. The agency changed and moved on, and he thought this was a good time to self-represent, really go solo and really create his own work in a way that has been “fantastic and very empowering”. During these last two-plus years, Wilson says the positive side was concentrating on solo writing as a self-creator. Back in his Second City days, he learned that as a writer he could hire himself. Additionally, Studio 180 has also assisted him in developing a new solo piece entitled ‘A Public Display of Affection’ that was filmed and, just this past spring, there was a public screening of it at Toronto’s Paradise Cinema on Bloor. Wilson says the lockdown has provided new learning opportunities for himself and his craft regarding digital capture of a theatre performance without an audience. He recently re-visited The Rivoli on Queen Street, one of his old haunts, where he did sketch comedy and improv. He got to perform a section of his upcoming show in front of a live audience, and he was thrilled he had the chance to do that. With the upcoming production of ‘Gay for Pay with Blake and Clay’, Wilson is looking forward to having a live audience in front once again. A press release stated the following about the upcoming production: “Every actor knows there is nothing more prestigious than bravely playing gay. But is your pesky heterosexuality getting in the way of booking a one-way ticket to award season? Join Blake and Clay, two seasoned gay actors, as they teach you to play gay and make LGBTQ about YOU. Go from straight to straight-up booked! Let their lived experience get your acting career off life support! Because representation matters, but their representation hasn't called in ages.” The Toronto Fringe sellout of ‘Gay for Pay’ won the 2022 Second City Award for Outstanding Comedy and Patron’s Pick. It opens on November 16 and runs to November 27 at Crow’s Theatre. Wilson worked with co-creator/performer and actor Daniel Krolik seven years ago on a Studio 180 piece for the PanAm Games. They became friends and Daniel encouraged Wilson to continue writing and self-producing. This past spring, Daniel was writing a Fringe show with co-creator Curtis Campbell and approached Jonathan to ask him if he would ever consider doing a Fringe show. They produced some online material. Jonathan saw the online material and it made him laugh. Curtis does a character named Alanis Percocet (and I had a good laugh over that). Jonathan started his career in Fringe shows. He only had to think for what he calls two seconds to agree to do the show. According to Wilson, Krolik and Campbell went away and wrote the show, a fake fun acting class. The premise? Two theatre performers have found an assigned gig and are teaching straight actors how to play gay. When he read the script, Wilson said he laughed so much and considers the rehearsal process and performance a real gift as an actor. He has a chance to continue honing his comedic skills as an actor. There’s improv in the show as well. There’s a community group effort with a lot of give and take with the audience in responses only. Wilson says: “It’s been a lot of fun and a reminder that in the theatre world comedy is overlooked. If anything, we need laughter right now.” Jonathan reassures that audience members will not be pulled up or ‘picked on’ to participate in the action of the production. As an audience member, he doesn’t like when that happens, and he doesn’t think it’s right for him to do that to an audience. At the Fringe, ‘Gay for Pay’ was sold out every night and Jonathan had a fantastic time doing it then. He credits and thanks Crow’s Artistic Director Chris Abraham for opening the door once again to perform it in the east end. Was there a reason the title does not use the names of the actors? Jonathan was looking for significance when he got the script wondering why the two characters are called Blake and Clay. Co-creators Curtis and Daniel said they both thought it sounded funny. Jonathan plays Clay so he wondered if he is supposed to be able to be moulded like clay in helping the students in this class take new forms. Director of the production, Curtis Campbell, told Jonathan: ‘Whatever! If that works for you, Jon, go ahead.” Jonathan then jokingly poked fun at himself by saying to give actors some seed and off they go to grow in whatever form they want. He’s having a great time with the production. Performances of ‘Gay for Pay with Blake and Clay’ run to November 27 at Streetcar Crow’s Theatre, 345 Carlaw Avenue (Toronto) in the Studio Theatre. Running time is approximately one hour with no intermission. For tickets, visit crowstheatre.com, click the WHAT’S ON tab and purchase tickets online. You can also call the Box Office at (647) 341-7390. I’ll be reviewing the production this week. Look for my review to follow shortly thereafter. Previous Next Profiles Nigel Shawn Williams Back Nigel Shawn Williams Self Isolated Artist Tim Leyes Joe Szekeres I’m sure each of us will remember certain productions of plays that have touched our hearts over the years. For me, this would be the Stratford Festival’s engrossing and moving production of ‘To Kill a Mockingbird’ in 2018. I reviewed the final preview as I could not make the opening. It was a school matinee and there were several groups there. I remembered over the years being in audiences where there were students and wondering how they would respond. Like me, many of the students around me had tears in their eyes at the conclusion. Most of these kids were on their feet at the end to give the actors a well-deserved standing ovation. It was an honour to have interviewed the director of this production, Nigel Shawn Williams. During our Zoom conference, he let me know just how appreciative he has been of the compliments he received in 2018. Nigel explained how there are certain opportunities one gets as an artist and director to create change. What made ‘Mockingbird’ so successful for him was to show the contradiction in the story of the human being and to bring out the racism and misogyny in the story. Nigel thrives in telling stories like this. I certainly hope that I will get a chance to see future productions directed by him again once it is safe to return to the theatre: 1. How have you and your family been keeping during this nearly three-month isolation? I know, it’s been nearly three, three and a half months. We have a contract as citizens with our community and our country to remain isolated. It’s a responsibility. Yes, sometimes it’s inconvenient but not overwhelming but it’s how you put it into perspective. We’ve been okay, but in the grand scheme of things historically, Joe, this is not a big deal. Being asked to do what we’re asked to do. It’s not overwhelming as it depends on the perspective in which you put it. This contract we have with the pandemic – it’s something we have a responsibility for. On a very personal and blasé note about my family, we still have a great sense of humour. We’re able to spend a lot more time with each other. We laugh and joke. We get out in the forest and walk. So, it’s been okay. 2. What has been the most challenging and difficult for you during this time personally? What have you been doing to keep yourself busy? I guess, it’s a focus. Taking away the industry of film and television and theatre where the hardest thing is waiting for something that I don’t know what I’m waiting for. I’m very work focused and agenda driven, and this not having any sense of work on the horizon or not knowing what that’s going to be has created a sense of unease. I’m a husband and a father and so there’s the concern of financial security of keeping the house, the car running, not going into debt, making sure there are groceries. We’re not in debt, but like every other Canadian there’s a finite amount of savings, if you have savings at all. To keep busy around the house, the list around the house is pretty much nonexistent. Every project around the house from windows which have no mould, they’re re-caulked, everything that’s needed to be re-painted or sanded. My deck’s re-finished. I could put this baby on the market right now. It’s staged. These two parts of the question go hand in hand. I need a project to do. This isolation and quarantine have allowed me to not look outward but to look inward to look inside my home, inside my family, helping kids with their online learning. It’s trying to stay buoyant but at the same time honest with our kids and the reality. I’ve been working around the house and trying to make sure that everyone around me whom I love is as buoyant as possible. 3. Were you involved in any professional projects when the pandemic was declared, and everything was shut down? How far were you into those projects? Will they come to fruition sometime soon? I had just finished a project. I directed the Canadian premiere of ‘Controlled Damage’ by Andrea Scott at the Neptune Theatre (Halifax). ‘Controlled Damage’ was the last full production staged by the Neptune. My company was able to finish the run at the end of February and then just after that everything hit. So, I was very fortunate. My project was completed. On the other hand, my wife was in a run at Theatre Aquarius that was cut short. I know many colleagues, acquaintances and friends who had their contracts cut short, but I was very fortunate that my company family was very fortunate to be able to finish their run. 4. Some actors whom I’ve interviewed have stated they can’t see anyone venturing back into a theatre or studio for a least 1 ½ to 2 years. Do you foresee this possible reality to be factual? Well, yeah, I do. Whether or not I like to admit it or not, I think the live performing arts of orchestra, opera, dance, narrative theatre will unfortunately and probably be one of the last industries to open up. I know there is a lot of conversation with Artistic Directors, PACT, and Equity on how to do this safely not just for our patrons but also for our artists. It’s a difficult task. There are theatres in this country not being supported by this government as much as any other countries around the world, it’s difficult for them to sustain themselves on a 30% house. Self isolating an audience is difficult. What I’m concerned about is that we start programming for only one-act plays so we don’t have intermission. We don’t have to worry about how the audience mixes and mingles, but I’m afraid that this is going to be a reality. I think it’s not just the logistical reality of how to have patrons in a theatre or how to have your artists safe in rehearsal or stage management, and your designers safe; it’s also giving the audience, the patrons and the general public the confidence and the want to come back into the theatre. And this is going to take time. The audience does want to take part in that community and to hear and see stories and to share that same energy. Audiences do want to come back, but it’s going to take confidence to be built around the sense of gathering. 5. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact, either positive or negative, on the Canadian performing arts scene? There will be an impact financially. In the larger ideological sense of what I believe theatre to be, theatre will always come back. Theatre was our first newspaper and it will be our last. The sense and the culture and the need for story telling will always be there. The shared experience of energy between performer and audience is something that we’re all just connected and wired to and we need that, and I don’t think that will ever go away. The impact of what we’re going through right now is in danger of jeopardizing a lot of smaller independent theatre companies and mid size theatre companies that don’t have the donorship and stakeholders that the larger ones have. I’m very fearful of a lot of our theatres right now staying financially healthy through all this into next year. It’s a many pronged answer to this question. Of course, it’s going to impact the writing that is going to come out, the creative process and sense of creation, and how we go back into rehearsal and how we create in that cozy environment is going to change itself. I think it’s going to circle back around to the power of storytelling that is community, and there’s a necessity to tell stories about love. And it’s very difficult to tell stories about love when you’re six feet away. Hand in hand with the confidence that we, as a society, have built up to get back into the theatre, so will the confidence be regained telling the stories as is necessary. 6. Do you have any words of wisdom to build hope and faith in those performing artists who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? Well, I don’t think any artist that has been working in the industry requires sage advice right now. It’s been three months, and everyone has been surviving it and going along with it. If anything, I’m an individual that requires everyone to maintain their responsibility in this. For the next generation of artists coming out of school and graduating and confronting this what seems an immovable roadblock, I think the best thing for them to do is to stay engaged. Stay engaged as human beings. What is happening with the pandemic right now, I think, is hand in hand with the focus that our citizens are going through with the anti-racism protest. I think this bubbling of energy is necessary. There’s an incredible amount of witnesses right now that are focused and will not lay down anymore when the system betrays them again. So, the young artists that are coming out and can acutely learn that the other artists that have been speaking out about injustices, misogyny, and racism backstage in the workplace. The kids at school coming out have probably experienced this and they don’t feel they have a voice. Coming around to the simplest answer to your question, I would encourage all young artists to remember they have a voice, and to not be silent, and to never be silent. 7. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? My relationship with the performing arts hasn’t changed because of this. I still need to tell stories. I still need to feel that I have a responsibility to right wrongs, to uncover indignities and injustices in our society. The plays I mostly am attracted to when I direct are ones that are combative to a great degree of the status quo to a system that is built to keep people under. My need to tell those stories hasn’t changed. On a professional level, it has become a little bit more precarious about when or if there’s going to be work. The sense of sharing a story and having the ability to have someone in the audience question what they believe or believed, how they engage with another human being, and the power that can create, and that we have the artists to do that. That is a change, and that’s what energizes me, and that’s what I’ve love about it. And that’s what I’ve always loved about it. The other thing that energizes me about the performing arts and theater -I love the collaboration in doing theatre. I love not being the smartest person in the room and letting others shine, let the designers be artists and let actors make mistakes in a free and safe space to work is something I cherish. That’s what energizes me. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Delicious. 2. What is your least favourite word? The ‘N’ word. 3. What turns you on? Insight. 4. What turns you off? Ignorance. 5. What sound or noise do you love? My family laughing. 6. What sound or noise bothers you? When someone snorts their own snot. I hate that! Absolutely hate that! Use your thumb or get a tissue. 7. What is your favourite curse word? Fuck! I love that word. (Nigel and I shared a good laugh over his answer) 8. Other than your current profession now, what other profession would you have liked to attempt? An ophthalmologist. I’ve always been fascinated with the eyes. 9. What profession could you not see yourself doing? An ophthalmologist (And again, Nigel and I shared a good laugh over his answer). 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Shaken or stirred?” I would think he would offer me a drink. I think God would assume I’d like a martini. My life’s not going to turn off just because I go to heaven. Twitter: @NswNigel. Previous Next Profiles Justin Stadnyk Back Justin Stadnyk Looking Ahead Courtesy of Talk is Free Theatre website Joe Szekeres ‘There are other voices in today’s world right now that are more important than mine for them to tell their stories, and for them to lead and be seen leading.” Justin Stadynyk’s final comment during our recent conversation resonated strongly with me. He is more than happy to allow these voices to take their course and proper place in society. He hopes to still be performing in the next five years but also hopes to take that creative bug he has to be on the writing team of a show or the re-creation of a show. I applaud artists who will do their best to make something like this happen and I believe Stadnyk will do just that. He and his wife (who owns a few Winnipeg dance studios) have one newborn and one toddler boy in the house. He stated that he prefers shorter work contracts for now as he doesn’t want to be too far away from home. After we ‘zoomed’ each other, I did a bit of research and discovered I had seen him perform in 2009 at Toronto’s Royal Alexandra in ‘The Boys in the Photograph’ (formerly titled ‘The Beautiful Game’ when I saw the show in London’s West End). I wished I had told him that during our conversation, but it’s here now in print and that’s the important thing. He will appear in September for three days in Barrie Ontario’s Talk is Free Theatre’s ‘Giants in the Sky’. Just what is ‘Giants in the Sky’ aside from a song title in ‘Into the Woods’? Over September 9-11, 2022, and September 16-18, 2022, culture, music, and theatrical performance are bringing rooftops, balconies, and fire escapes of the city of Barrie, Ontario to life, and it’s all free. Performing in some manner has always been a part of Justin’s life. He reminisced that he sang on the playground when he was a “young, young kid.” He attended a Winnipeg high school that had a good performing arts program. He jokingly stated he didn’t follow in the footsteps of his two older brothers and decided to go somewhere else. As soon as he graduated high school, Justin relocated to Oakville, attended the Musical Theatre Program at Sheridan College, and graduated in 2006. This thing called Covid still hovers around all of us, including the performing arts. For Justin, these last two-plus years of absence from live entertainment have placed a lot of things into perspective for him. Justin proudly states his path during the pandemic slightly veered as he and his wife had two boys born during this time. One was born days after the initial shutdown and the other was born five months ago. He calls these last two years a re-shuffling in a perspective shift: “it feels nice that things are slowly getting back in, and it seems as if people are okay with that. Before there was the hustle of the artist trying to get the work, and now, for me, the work seems more meaningful and has a weight to it. Talk is Free’s GIANTS IN THE SKY will allow me a three-day event of musical theatre songs that I love and love to showcase.” What was it that drew Justin to the upcoming ‘Giants in the Sky’ project? He found this a great welcome back for the artists to come together to share their voices in this festival. He recognizes artists are trying to find their comfort level returning to performance as it is nerve-wracking since one can’t just simply return and pick things back up again. Not only does he consider his 45-minute performance set ‘Corner of the Sky’ a nice welcome back to theatre, but also the vast array of programming that has been put together by Talk is Free for the two weekends is fascinating from drummers to poetry readings to opera singers, jazz singers, musical theatre artists, impersonators. Stadnyk calls ‘Giants in the Sky’ a great chance for the artists to ‘wet their whistle’ again with arts and not be forced to put an entire evening aside for one style. Stadnyk will perform outdoors in a back alley for the comfort of those who might not be ready yet to venture indoors into a packed theatre. He has selected an array of songs from the musical theatre canon from classic to pop. He doesn’t have to stick to one genre of the musical theatre category in case a specific song might not be someone’s cup of tea. Additionally, Justin is also a ten-year entrepreneur and works in Yoga and Meditation. He completed his teacher training for Yoga in Brazil in 2011/2012. According to his website, his primary business is: “just music™ . It has become the “go-to” music editing company for choreographers all over North America and the world. The mission of just music™ is to provide a resource for the creative arts and sport communities to create non-jarring, seamless music edits along with providing other music services in order to allow choreographers the time and head space to flourish as just that, the choreographer.” Justin started Yoga when he was playing Gilbert Blythe in the Charlottetown Festival’s production of ‘Anne of Green Gables’. It was called Moksha Yoga then and now it’s called Modo Yoga. He fell in love with yoga as he discovered it helps with his singing and dancing in his musical career. What he didn’t expect from yoga was how much it would help in his acting because of the ability to practice letting go of everything and being in yoga for however long the session: “It is the same with acting.” Justin explains: “One has to let go of the day and be in the moment for the length of the performance. This is hard as there is so much going on in our lives especially surrounding the pandemic now. It’s important not to be able to push down your feelings and stories but to shelve for that moment so you can pick them up later for performance if necessary.” He smiles and concurs how good of a question it is to ask someone where he/she/they see themselves in the next five years. His favourite part of the arts is creating. Some of Justin’s favourite shows have been world premieres and not re-creations of something. He would love to start working on the other side of the table as part of that creative process and perhaps become a writer, an assistant director or a director. If these opportunities presented themselves in the next five years, Justin would like to dabble in them more. And finally, what’s next for Justin Stadnyk once ‘Giants in the Sky’ is complete and he returns home to Winnipeg and his family: “I’m working on ‘Into the Woods’ with Winnipeg’s Royal Manitoba Theatre Centre. The pandemic has made many companies realize they need a bigger insurance policy with standbys and understudies. This is a different role for me as I will be a standby for two of the roles: the Baker and the Narrator and the Mysterious Man. So, in true form to what I said about my five-year plan, I’m really looking forward to the creative process where I get to sit and watch all of these people create and then I get to learn the roles…It’s going to be a new experience for me to be sitting taking notes up in the back and rehearsing things, but I’m excited to be doing it in Winnipeg. I’m happy this is happening more and more in theatre companies.” To learn more about Talk is Free Theatre’s ‘Giants in the Sky’ festival, visit www.tift.com . Previous Next Profiles Petrina Bromley Back Petrina Bromley Moving Forward ... Joe Szekeres To know when Canadians have made it to Broadway to showcase their talent is something to celebrate all the time. When one can go to Manhattan to see Canadians in a Broadway production and see them perform is another excitement in itself. That’s why it was exciting for me to see ‘Come from Away’ in New York when East Coast artist Petrina Bromley was in the show (along with Toronto artist Astrid van Wieren whom I interviewed earlier). Petrina is an actor, director, musical director, and composer from St. John's, Newfoundland who has worked with Artistic Fraud of Newfoundland since its inception, having participated in ten of the company's original works. A bit of online research discovery that Petrina also made an appearance in one all time favourite CBC shows I watched religiously each week: ‘Republic of Doyle’. We shared our conversation via Zoom: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are things in Newfoundland? How are you feeling about this? Will we ever emerge to some kind of new normal? We’ve been very, very fortunate. The provincial government has been diligent. The benefit we have over everyone else is the physical location (of Newfoundland) and the fact it’s an island. You have to make an effort to come to Newfoundland. No one is flying and the ferries were reduced. There were less people travelling anyway and they actually closed the borders for awhile provincially as well. Now we’re in an expanded bubble but it’s just with the Atlantic provinces. You still can’t even come here from Ontario and Quebec. They’re being very, very strict about all this stuff so I think it’s good. When I first came home in March, we (Broadway production of COME FROM AWAY) shut down March 12 and I hopped on a plane the next day and came home. That first week I was home which was around St. Patrick’s Day, over the weekend there had been at a funeral home two wakes happening and someone came home to bereave a loved one and brought Covid with them and didn’t realize it, and out of that one person, 150 people got sick. At least one person died. Because that happened immediately, everybody really took it seriously. You became so aware suddenly of how contagious it was and how quickly it spread and how sick you could get. It’s put the fear of God into everybody, and people have been taking it pretty seriously since then. We’ve been slowly, slowly coming back to some things. We had a pedestrian mall downtown this summer on the main drag where restaurants had outdoor service. They closed it to traffic and that was a huge success. The kids have gone back to school last week and so far, that seems to be going okay. We’re very lucky that we don’t have any community transmission. Anytime anyone has been sick, it’s been quickly traced, and it’s usually connected to someone flying. A lot of it has been people who have been away and trying to return home. Because of the rules and the isolating, it’s been under control. Cross my fingers and knock wood, we’re in a really good place with it so far. We’ve been fortunate enough that I actually went to a live performance the other day, a socially distanced piece of theatre. The main theatres here in the Arts and Cultural Centre which are a series of large theatres across the province all operated provincially have officially re-opened and have their social distancing, masks, sanitizing rules in place that are now opened to houses of about 100 which is a start. I think there will be some sort of new normal. We have been warned for so many years that superbugs are on their way, and it’s a question of when. I think masks are just going to be a part of our future in general, particularly during the cold and flu season. And hopefully we’re all going to wash our hands a lot more often. And just be aware of how much contact we do have with people. I hope it makes us more aware and more grateful for the physical contacts that we have, being able to be in the same place with others, being communally together and developing a greater appreciation for that. I know it’s made me aware of how much I miss being in a room with other people. And for performing arts in general, I’m now teaching a university course online. It’s a singing course and it’s almost impossible to connect because technology doesn’t really exist to facilitate it. It’s made me very aware that I can’t wait to sing in an ensemble again, a true ensemble, not “I take my part, and you take your part and we stitch them together with an editor, but I’m looking forward to when we make sound together.” It’s made me realize how important this is in my life. How have you been faring personally and professionally? As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Again, I’ve been very, very lucky and fortunate that I own a home in Newfoundland. All of my family have been good. Knocking on wood again, I haven’t add anyone adversely affected by it all. It has been something that has been happening elsewhere. It’s more something that you see on tv since I haven’t had anyone in my life who has been sick. Professionally, the biggest is teaching this course online as I’m stretching all of my skills and learning new ones every moment of every day. I also think the other challenge that performers, particularly theatre performers and musicians are a little bit better equipped to deal with something like a shutdown because we go through long periods of time of “I don’t have a gig”. There are periods of non creative output in terms of jobs. It’s gone on so long that doesn’t stand anymore. Theatre performers are deeply affected because our industry is in question itself in terms of what will come back, how it will come back, and how we manage to make it work. I have no doubt we’ll be back no doubt as we all need that storytelling. There’s something in our lizard brain, from cave people that we need to sit in a group and be told a story together. We will find a way to make it happen again. It’ll just look a little different and feel a little different, but I think we’ll be back to it. But this is what I found hard, the uncertainty of it has been challenging. For the first six months, they kept pushing with faint hope that the Broadway League kept pushing the dates and that Broadway would come back. It was always a guestimate and still is, really, but every time it got moved, there was a feeling of “Ugh, it’s being moved again.” That has been hard, wondering. The research that was also coming out saying that singing was a no no was also disheartening. It really did make me feel that our industry doesn’t exist anymore and won’t. Times are changing and this is such a fluid situation. There’s flux in this Covid situation, but we will find ways as we’re hard wired to find them. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I wasn’t personally in any kind of planning. I was very content to be where I was. It’s been the best gig ever and I couldn’t imagine leaving it. Besides the university teaching, what have you been doing to keep yourself busy during this time? You know, I’m actually surprisingly busy which is a great complaint. It’s because I’m back home in Newfoundland and it has given me the opportunity to work with people I’ve worked with before and to re-kindle old work relationships. That’s been great. I’m involved in a workshop that’s coming up in a little while. Now there are two television productions shooting here and I got a couple of days on one of those. I’m supposed to be writing my own show as well. I’m busier than I should be in normal times let alone in Covid times. Any words of wisdom or sage advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Oh, I don’t know. ‘Hang in there’ is about all I can say. You have to be kind to yourself. You have to be able to give yourself the room to feel whatever you’re feeling at the time. There’s general anxiety, upset and depression given the times that we’re in right now because the whole world has changed. It’s a huge tectonic shift for anyone to go through, and we’re all going through it together. I think we all need to be a little more generous to the people around us in terms of understanding that we’re all going through it. Everyone is having a bad day just about every day, maybe not every moment but there will be those times where it’s going to feel bad. To the new theatre grads, yes, be kind to each other, be gentle with each other but hang in there is the best thing I can say to them. I would always tell people before all this that the road to where you want to get might be longer than it needs to be. It took me my entire professional life to get to Broadway. It happened eventually and happened when I did not expect that it would happen, very, very unlooked for and unexpected for me. But as I look back on it, everything happened as it should have happened, and I can’t imagine having gone sooner in my life because it would have been a terrible experience and ruined it for myself. Knowing me and knowing how I would have treated it when I was younger, I would have just blown it. Sometimes the path you go down takes a lot of twists and turns before it fits in where you want it to go, but every one of those twists and turns will have value, maybe not until later but it will. Do you see anything positive stemming from Covid 19? Oh, definitely. There’s tons of positive stuff happening because we’re so focused or we’re forced to be especially during the lockdown, a little less now that we’re getting back to some sense of normal life. People were so focused on everything that was happening on screens in front of them because there was nothing else. That really facilitated the focus on the ‘Black Lives Matter’ social movement and all those things that sprouted from that. Theatre companies and institutions were being called to task for their response to the Black Lives Matter movement. Also again, I hope, that it’s going to make us appreciate communities so much more, physical community being with other people, and experiencing things with other people because there has been such a movement to have everything be on line. Even before everything went on line with Covid, we were doing a lot more virtually, through video, and through conversations on tablets and phones, and I hope having this moment will remind us just how important it is to hang out and just see people be together. A lot of that can be seen when they reopened the bars and the reports came out there were too many people and they were too close together. I think we are really, really just hungry for it to be around each other again. Do you think Covid 19 will have some lasting impact on the Broadway/Canadian/North American performing arts scene? Again, there’s a lot coming out of the Black Lives Matter movement. This focus is changing the world of theatre all over the world. It’s shining a light on that and allowing and opportunity for us to take stock of that, well more than take stock, to really give the attention that it deserves. I think we’re really going to see the affects of that. Hopefully there will be a focus on the technical side of things, a focus on some of the older theatres around being properly ventilated. Some rehearsal practices that might encourage some proper physical things as well, just handwashing. It’s very easy for a bad cold and flu to go through an entire cast, let alone something like Covid. We’re all going to be mindful of these things. If it does come to a place where masks are more common, then that might help that as well. There’s ton of more things that we’ll eventually look back and say, “You know what, that started after Covid.” The first couple of times seeing audiences wearing masks might be little jarring, but the thing about New York is New York is full of individuals. Everyone there is an absolute individual so you would run into different people all the time like subways or in the stores who are already wearing masks a year ago. That wasn’t uncommon to see in New York back then. During the show close to the shut down, we would see one or two people wearing masks in the audience and that was when it was startling. I think it’ll feel natural now because it’s all over the place now, but who knows? Going back to New York, it might seem startling not to see masks. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? It’s great. It is definitely a double-edged sword because it depends on whether or not an individual artist is able to support himself or herself by putting their stuff up online. The arts is not a hobby, it’s a job. I always call it a calling. I always tell people don’t get into this industry if there is anything else you can see yourself doing. If this is a compulsive behaviour for you to be in the arts, then you might make it because it’s so challenging, so difficult and demands so much of you. As long as people are managing to turn streaming into something that gives them a viable living, I think it’s fantastic. There was a lot at first as people kept thinking, “Oh, we have to keep doing something” and so much was poured out. We’ve come to a place now where there should be limited access and pay thresholds as a product because it is as people do need to support themselves. Again, the irony of it all – when something goes wrong in the world and someone wants to have a benefit for something, the first people who are called upon and step up are performing artists, visual artists and artists in general who say, “I can help”. I think this happened when Covid hit as people just wanted to help out in some way and so they just started posting things to make people feel better, things to look at and to focus on. Where it has come to now is good with the talk of pay thresholds, paid performances and having limited access to something so that it’s not out there on the internet forever. Despite all this fraught tension, confusion, and uncertainty, what is it about the performing arts that Covid will never destroy for you? Our need, absolutely, that goes back to what I was saying earlier about our compulsion with people. If you’re a performer and this is how you identify yourself that you have to do it. Being unable to do it is challenging enough but just being not allowed to do it is a different thing altogether. Everyone has had a moment as stage performers where you’ve had an injury or illness and that has prevented you from performing. I had some voice trouble once and it was a long period of time where I couldn’t sing and during that time it kept running in my mind, “Who am I if I can’t sing?” What do I have to offer and who am I as a person. That’s one thing. But now with Covid and it’s the feeling of “No, you’re not allowed to sing” is so much harder because it’s hard to make those reasons realistic to yourself. They seem like someone is imposing something on you. Again, everybody started putting up these videos right away speaks to the compulsion that the performing artist needs to create. It’s who we are as a human being and how we get through this world. So I don’t think that can be taken away from us at all and people’s need to experience that can’t be taken away either. At least I really hope. Previous Next Previous 1 2 3 4 5 ... 13 Next