Back Kristen Peace Theatre Conversation in a Covid World ... Joe Szekeres You will see from Kristen’s profile that she has had a great deal on her plate this last year. I’m gratefully appreciative she was able to take a few moments to ‘Check in From Away’ for her profile. When she responded with her answers via email, I smiled as she began that every actor finds it sometimes a little strange and dreads writing one’s own semi autobiography because it is tough to do it. I agree with her wholeheartedly as it is tough to decide what to write about yourself. Just from the tone of her answers, Kristen feels both thankful and blessed for her career and where it has taken her. She started very young in this industry and feels extremely lucky that she was able to learn from great performers by working with them. Kristen prides herself on being a bit of a sponge and it has served her well as she has worked for some incredible companies: Charlottetown, Drayton, and Mirvish, as well as some always entertaining work on voiceovers for cartoons and video games. Fingers crossed to see you all again soon in Newfoundland at the Royal Alex, Kristen, when it’s safe. Thank you so much for participating in this conversation: 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 with us and describe one element, either positive or negative, from this time that you believe will remain with you forever? I’ve actually had multiple conversations about this topic with my friends. This pandemic has been terrible for so many of us. However, that’s not to say that there are not many things for which to be thankful. How do you convey the mix of chaos, debilitating stillness, and potential progress into a singular moment to remember? For me, it will forever be a mish mash of tears, stress, gratitude, and growth Have you learned anything about human nature from this time? I think we have all been watching the news and seen some really disappointing things over the past year. I’ve learned human nature can be beautiful and frightening at the same time. In my most challenging times, I’ve witnessed great kindness and generosity and I am proud of how Canadians evolve and grow, especially those involved in the arts community. They create for the sole purpose of others’ comfort and happiness. I remain in awe of the resilience of Canadians. 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 family has certainly struggled over the past year, like so many others. We have had our fair share of stress and sadness. Our greatest loss was that of my darling dad, Glen. My father passed at the beginning of the new year, at home, with family by his side. Although his absence now creates a crater-sized hole in my heart, I am thankful that I was able to be at home and take care of him. This simply would not have been possible on a regular show schedule. Pre-COVID, my days were filled to the brim with an 8-show week, rehearsals and voice overs. The incredible silver lining of the pandemic was that I was allowed the time to spend with my dad in his last few months. For that, I am eternally grateful. 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 though that you might have had to pivot and switch careers during this time? I hold faith that we will be back in some capacity later this year. Truthfully, I have experienced a lot over the course of 2020 and have little desire to pivot. I’m taking the necessary room to recharge and enjoy valuable time with those I love. I’ve sacrificed so much over the course of my career for a job I truly love, and I have no intentions of putting my energy elsewhere until someone tells me I am done. How do you think your chosen career path and vocational calling will look once all of you return safely to the theatre? Do you feel confident that you can and will return safely? I’m someone who thinks that the “what if” game can be damaging to the soul. I’ve given myself permission to release control and ride this wave with as much kindness and positivity I can possibly muster. I have faith that we will return to work when it is safe to do so and that people will be itching to experience life again. 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? My friends! Friendship has helped me through this mess. Whether it’s a FaceTime call at 3:00 am or a socially distanced garage movie night, these little moments have meant the world to me. One of my best friends and I made a commitment to remain in one another’s bubble. We decided to open an Etsy shop featuring upcycled embellished theme park apparel. It’s amazing what a little wine, glitter and love can conjure 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. 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: When we are lucky enough to return to the stage, I will hug and squish the life out of my co-stars. My brand of love is aggressive and I’m sure they already know they will just have to deal with it. I know I’m going to cry like a big, fat baby… a lot. I will feel zero shame. I also know that I will be so grateful to the audience for coming home to us. Previous Next

Back Jacob James Theatre Conversation in a Covid World Selfie Joe Szekeres Jacob James is one extremely passionate fellow in sharing how this pandemic has ultimately transformed his life. I wasn’t able to include every single bit of information he shared with me during our hour-long conversation as one topic sometimes dove into another completely different question or topic that I hadn’t even considered. But that’s okay. At one point, Jacob poked fun at himself by telling me that I would glean from our conversation that he loves to speak with others who are just as passionate as he is about the arts and about the state of live theatre as we all move forward post pandemic. He is an actor, director, drama professor currently at Queen’s University in Kingston, and creator of the YouTube channel Theatre Curation Project. He has spent seven seasons with The Stratford Festival, five seasons with Drayton Entertainment, five seasons with Videocabaret (Dora awards), five seasons with The Thousand Islands Playhouse, and has worked with Theatre Kingston, Soulpepper, Neptune, Globe Theatre Regina, Charlottetown Festival, New York Shakespeare Exchange, Cincinnati Playhouse in the Park, Cleveland Playhouse...and more. As a teaching artist, Jacob has taught at arts institutions across North America for over 20 years including Michigan State University, St. Lawrence College, and Queen's University. Please visit Theatre Curation Project on YouTube and subscribe, follow him on Instagram at @jacoboneilljames. Jacob is a graduate of The National Theatre School, Birmingham Conservatory (Stratford Festival), Second City Conservatory, and York University's Teaching Artist program. Jacob adores his six year old son, Henry, and still finds time to consider new and exciting ways to keep interest in the arts going. I plan to check out many of his passion projects with the links included at the conclusion of his profile. We conducted our conversation via Zoom. Thanks again for the lively discussion, Jacob: 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 and your immediately family been faring during this time? I must say that many people are talking about the waves that it goes in. Sometimes I feel positive, inspired and motivated, then the next day I’ll sit the entire day in my pajamas at the computer checking social media. I was set to do my third of ‘Billy Bishop Goes to War’ this time with Drayton Entertainment. We were supposed to start rehearsals March 26. I was in New York at the time. I’ve been splitting my time between Kingston teaching at Queen’s and in New York where my son’s mother was based. It was a harrowing lifestyle for the going on two years I’ve been doing it. The numbers in Stratford are low right now, but we’ll see what happens in the summer. Henry, my son, is 6 and he’s doing alright. All to say, yes, there was such a downfall from theatre becoming disenfranchised and yet, at the same time, it meant that I got my son safely back to Canada. My son’s mother and I, we co-parent relatively well and decided to locate to Stratford. I spent my 20s as an actor and she owns a house here. On the one level, I have felt totally disenfranchised but on the life level really grateful not having to split my week between Kingston and New York City and all that travelling. Having my son back in Canada and in one place is good. I’ve had ups and downs, but it has forced me to get innovative and thinking about ways about what can I do to help. Theatre is being diminished through this pandemic and there is a real danger of it being impacted permanently. How have you been spending your time since the theatre industry has been locked up tight as a drum? That sense of stewardship started to rise within me as a result of this worldwide epidemic. I’m not the kid anymore and it’s my generation to make the initiative to preserve and to curate what past mentors had shared with me. I wish they were here because I would really like to talk to them now as I reflect back and wish I could ask them things now, but obviously I can’t. That gave birth to something I created on the You Tube channel called ‘The Theatre Curation Project.’ It started twofold. I got thinking about all the mentors whom I’ve had in this business who have now passed away. My original mentor, Valerie Robertson, was in Theatre Five. She is one of the mothers of Canadian Theatre. Here at Stratford, Richard Monette was my major mentor and influence. Well, there are a lot of people who are still alive and have these stories and lessons. Why not reach out to those who were influenced by those who may not be here? Why not reach out to those who are still here and are leaving their mark on the theatre scene? Kenneth Welsh is a veteran of our time, but who was his mentor for example. To my surprise, this avalanched into 40 + episodes of ‘The Mentor Series’ I’ve curated. I’ve about 20 in the bank ready to go. The idea here is to preserve these stories for future generations and from being lost forever when I’m gone. I got to thinking about the conversations we would be having in the rehearsal hall, and I’m a big ghost nerd. I get into these conversations of did anyone ever work in a haunted theatre and what was their experience. I discovered a lot of people share that same curiosity and interest, so I created a second series for the You Tube Channel ‘Haunted Theatre Stories’. The basic format is similar to the Mentor Series channel. The next phase of the Theatre Curation Project is the beginning of an online theatre school. Right now, we’re beginning with an online component. Eventually, I’d like to buy a building when we can be physically back together with that theatre school graduating into a theatre company, an apprenticeship school where there is an opportunity of doing. So, preserving the tradition and maintaining community are important. 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? Yes, it has been an escape for me in good ways and in bad ways. Being in Covid has been an escape from hopping on a plane and going to New York to see my son or only seeing my son for half the time. It’s also been deprivation. I’ve been fortunate to have done a bit of tv and film over the interim since that has kept rolling. It doesn’t fill the void. I love editing and I wonder I might have become an editor for film and tv if I had gone a different path. 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 full throttle and full tilt until 2022? I’d say that’s a very safe bet. Again, there are a lot of variables that could take us further ahead that could accelerate the process but there are a lot of factors that could set us back. Of late, what I’ve been coming to terms with is the struggle. Certainly, in Canada and Ontario specifically, the colour coded roles and the numbers, these two things are not working together in tandem. My mom is still in Kingston and I talk to her regularly. When Kingston was opened up, even though Toronto was in lockdown, people in Toronto are going to Kingston to the restaurants. I shudder to say it: If we created a uniform set of rules for the province, we’d be in better shape. If we stayed in lockdown since Christmas, we wouldn’t be where we’re at right now. There’s always that tendency of “Well, if I visit this person, it’s just me not everybody.” When Trudeau said at the beginning last year, “It’s time to come home”, we still need to be in that tone, or nothing is going to be done. I get the fatigue of it all but… In the end, what is it worth if we can’t see our family next Christmas? My forecast for all this? There will be smatterings of outdoor theatre going on this summer. My thinking if rules are set that 100 or more can be in a theatre to watch a show, masked and social distanced, we could start seeing those small, distanced audience numbers in the fall, okay that’s a start. But back to where we were before with full houses and sitting next to people shoulder to shoulder? That won’t happen until at least 2022. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform 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? It's transformed me because empathy has been at the forefront of my mind because this is what is needed right now to help control this worldwide pandemic. If we’re not empathetic and care for each other and put ourselves in each other’s shoes, wear the masks, do the social distancing then it’s going to continue to be bad news. I’ve been transformed because I used to be quite romantically optimistic about everything and had a lot of faith in humanity. I have to admit that the empathy is still there, but the faith in humanity has been dampened a little bit for me because it’s pretty simple. We’ve got a simple set of rules to follow to protect ourselves and each other, and yet there are people who are actively out to go against the grain. Here in Stratford, I’m seeing signs of NO MORE LOCKDOWNS. I can’t wrap my head around it. Where have I been transformed concerning live theatre? I’m all about theatre that engages as opposed to pacifies. Theatre needs to come from the inside out, not the outside in if it wants to be authentic and achieve any kind of vacuum quality acting level. The audience should feel like voyeurs, according to the late William Hutt. 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 with Ms. Caldwell. We need to see a character begin somewhere and end up somewhere else. In order to do that, there must be conflict. The conflict is where the danger comes from. It makes me think about an experience I had. I originated the role of Clown 1 in the Canadian premiere of ‘The 39 Steps’. I had a strange kismet with that play where I later played Hannay at Neptune in Halifax. When I got to New York, there was an off-Broadway production running and I was asked to understudy all three male roles. But then the show closed. I assistant directed a Canadian production oddly enough with the guy who assistant directed the off-Broadway production and who I had been auditioning for in New York for the understudy job. Dayna Tekatch directed the Canadian premiere. She reminded us, excluding the role of Hannay, the characters can be as big and buffoonish as you want them to be, but they have to be rooted in playing a real objective to come from the inside out. They have to be real people and start as real people and not inauthentic lunatics. If these people are not real, there can’t be any danger. If there’s no danger, then there can’t be any stakes. If there are no stakes, then it becomes a bunch of silly gags and actors playing different characters. It needs to be that thriller. If there is no danger in this particular play, it’s over before it starts. I did a short film in Toronto over the last summer. It was the weird period of being in limbo between the first phase of the pandemic and not quite into the second phase. I remember thinking we are in this little window where we can do this. Productions have learned a lot since then; companies have learned a lot about how to do the protocols. We all had our tests on this film, but I was the stickler during the film ensuring that we would all be safe. There are these stories about Douglas Rain, one of the original company members at Stratford. He got a bit reclusive in his last days. Apparently, he set up a little tent corner area when he wasn’t working. He didn’t want to talk to anybody. I was close to pulling a Douglas Rain on the short film I shot last summer. I didn’t want anyone to come near me because I did feel the danger in my being a stickler about safety on set. I was grateful to do a job but felt petrified the entire time. I went to length of during that whole shoot and the two weeks after, I isolated from my son. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. How 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? The thing I’m most keenly sensitive about from all this is we’ve all been experiencing some degree of trauma on the spectrum of trauma. I recognize that and have seen it manifested in myself and in others. It manifests in unexpected ways and it has heightened our reactions to so many things. Being a parent of a six-year-old, there are so many undiscovered epiphanies. I’ve been keenly aware of the other two kids who are in Henry’s learning pod through school. For those kids who can’t articulate the trauma they’re experiencing or recognizing it, I’ve learned how to be more sensitive especially towards Henry. He’s happy here in Canada, his socialization is fine with a good balance of work and play. There was a moment where something wasn’t right and just a moment out of the blue. Henry is a good kid. He’s funny, got a good sense of humour and is sensitive, there was a moment where he came up and sat on my lap, and cuddled up on me and hugged me and squeezed me. I asked him if he was alright, and he just started crying. He said he just felt sad. For ten minutes he went through that. It was hard, heart wrenching but it was good because he was having an emotional release. That led to a conversation of saying it’s a good thing if you’re feeling sad to cry because you’re letting it out of your system. He doesn’t understand fully what is happening to him. And it suddenly dawned on me that what I was telling Henry, I should have been telling myself as well. Sometimes you forget that if you need to take a day to be in pajamas and watch mindless movies or play video games, it’s okay to not feel the shame and to take the time to not do anything. How will this translate into my work? With my students I was working on a couple of different Shakespeare monologues. I gave them something dense and challenging from Richard III. In working with them, we looked at the two different Richards. We saw the adult and the child Richard. How did Richard get to this point? It started me thinking what this would have been for him? That level of trauma would probably have created some arrested development and to lead to insane behaviour and the shutting off of emotions. 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? The Theatre Curation Project and Channel have made me even more curious. I’m a big theatre nerd. Long before I studied at the Stratford Festival, I had the books about William Hutt and renowned at Stratford and I was a big theatre history buff. But looking at the journey and legacy of how we got from where it started to where we are now is at the forefront. What I’ve been recognizing as we’re 40 episodes in with more to follow, the similarities, the patterns and the story forming from hearing the accounts of these mentors, I’m realizing and now starting to map together the foundations of Canadian theatre and the commonalities. It’s prompted me to perhaps have these stories come out as special presentations. Ultimately, I want to transpose a lot of these stories into books and volumes so they can be in libraries of theatre schools long after I’ve left this world. I got thinking about this idea of the architects of Canadian theatre. At this point, I can count on two hands specific people who started it all. Almost in a Bible format, I’d like to write the ‘Genesis’ history of the architecture of Canadian theatre, the creation of Canadian theatre. One volume for example might be called THE BOOK OF HUTT (with great respect to William Hutt) and the impact they had then and now. My drama students at Queen’s don’t know who are Val and Gord Robertson. This has to change. They have to know these names of the greats of Canadian theatre some who came from Kingston. Just in terms of life as well has made me curious. There is re-inventing going on because of the pandemic. Rather than being defeated by all this, what can we do in spite of all this. Not only to keep it going and preserve the stories, but I’ve said in some of the faculty meetings with the drama department at Queen’s to look at online learning as an opportunity and silver lining that perhaps what we are doing online now will augment the learning of the students when they return in person. To learn more about Jacob’s passion projects, please visit: YouTube Theatre Curation Project: https://www.youtube.com/channel/UCLhEdMQ-NVs_WC61tHYw7yQ?sub_confirmation=1 Facebook Group: Theatre Curation Project https://www.facebook.com/groups/645544769451393/ Patreon: www.patreon.com/theatrecurationproject Follow Jacob James on his Insta: @jacobonielljames Previous Next

Back 'Much Ado About Nothing' by William Shakespeare with additional text by Erin Shields Now onstage at the Festival Theatre, Stratford, Ontario Now onstage at the Festival Theatre, Stratford, Ontario Joe Szekeres Misunderstanding the word ‘nothing’ in the title becomes something, especially in the delicate intricacies of male and female relationships. Director Chris Abraham’s terrific cast makes this ‘Much Ado’ really something for twenty-first-century audiences. I must confess that I have mispronounced ‘nothing’ since my undergraduate days at Western. I took a Shakespearean course during my second undergraduate year; however, in 1980, I cannot recall the course’s instructor ever saying that ‘nothing’ (pronounced ‘no thing’) referred to, what Oprah Winfrey calls, the ‘va j j.’ Yes, the Elizabethans jokingly refer to the vagina as no thing. Ergo, the play’s title is ironic because it’s “Much Ado About a va j j,” which explains why the play is probably and rarely studied in Ontario secondary schools. That doesn’t mean this ‘Much Ado’ isn’t worth paying a visit because it is most definitely. Don Pedro (André Sills) and his companions return home from a military campaign in celebration when they accept an invitation to stay a month at Leonato’s (Patrick McManus) estate. Among Pedro’s companions are his half-brother Don John (Michael Blake) and soldiers Benedick (Graham Abbey), a self-confirmed bachelor and Claudio (Austin Eckert). Benedick continues his spar of words and wit with Leonato’s niece, Beatrice (Maev Beaty), and Claudio falls in love with Leonato’s daughter, Hero (Allison Edwards-Crewe), who returns his affections. Claudio joins Don Pedro and Leonato’s secret campaign to bring the sparring Benedick and Beatrice together in love and matrimony. Different plots and counterplots follow as misunderstandings in overheard conversation give way to singular hilarity and comic events, sometimes of slapstick and farcical nature. Where the play is terrific both to watch and hear are the double entendres and dual meanings. The Festival Theatre auditorium has been transformed into a romantic setting by designers Julie Fox and Arun Srinivasan. The ambiance is genuinely captivating, from the lush decor to the warm, focused lighting. The final dance by Adrienne Gould, a hallmark of Shakespearean comedies, elicits smiles from both the cast and me. Director Chris Abraham’s vision of examining the intricacies of male and female relationships remains sharply and often comically intuitive. In his Director’s Note, he credits and thanks writer Erin Shields for being there “from the beginning to tackle a play that is contemporary, troubling, hilarious and worth doing.” Both Abraham and Shields are trusted and knowledgeable theatrical professionals. They instinctively know what they’re doing. When a fine cast is assembled for this ‘Much Ado,’ with Abraham and Shields at the helm, the play is worth doing AND worth seeing. Hero and Claudio are the young couple at the center of attention. Allison Edwards-Crewe and Austin Eckert sweetly reveal their love story, which unfortunately takes a dark turn when the villainous Don John tricks Claudio into believing that Hero has been unfaithful. As with most of Shakespeare's comedies, the audience is given glimpses into the malicious intentions of villains, and Michael Blake’s Don John is dashingly dastard. Patrick McManus is convincingly lifelike in his anger at his daughter Hero’s supposed indiscretion. With all these men controlling Hero’s life, ‘Much Ado’ becomes a critical twenty-first-century commentary of a dominating patriarchal world. However, as Hero, Allison Edwards-Crewe cautions Claudio about her awareness of the oppressive nature of the patriarchal world that nearly destroyed their marriage. As I listened carefully to the wisdom given by Hero to her intended, I felt goosebumps. Edwards-Crewe remains peacefully and stalwartly calm and convicted in advising how she, as Hero, can move forward with Claudio into marriage. It’s a theatrical highlight of the show. Graham Abbey and Maev Beaty are excellent as Benedick and Beatrice. Their perfectly timed verbal sparring denotes clear-cut sexual tension. Another theatrical highlight of the show is their injection of physical comedy into their work. At one point, Beaty crawls around her knees at one moment and then scales from the stage's lower to the upper playing level. Abbey deliciously plays with the front row of the audience regarding the boot he’s wearing. This verbal sparring ultimately makes them understand and accept the other for who they indeed are. Outstanding work all around. An enjoyable time at the theatre. Running time: approximately 2 hours and 55 minutes with one interval. ‘Much Ado About Nothing’ runs until October 27 at The Festival Theatre, 55 Queen Street, Stratford. For tickets, visit stratfordfestival.ca or call 1-800-567-1600. ‘MUCH ADO ABOUT NOTHING’ by William Shakespeare with additional text by Erin Shields Directed by Chris Abraham Designer: Julie Fox Lighting Designer: Arun Srinivasan Composer and Sound Designer: Thomas Ryder Payne Choreographer: Adrienne Gould Performers: Graham Abbey, Anousha Alamian, Akosua Amo-Adem, Maev Beaty, Michael Blake, Déjah Dixon-Green, Austin Eckert, Allison Edwards-Crewe, Jakob Ehman, John Kirkpatrick, Kevin Kruchkywich, Josue Laboucane, Cyrus Lane, Patrick McManus, Jameela McNeil, Danté Prince, Glynis Ranney, Anthony Santiago, André Sills, Gordon Patrick White, Rylan Wilkie, Micah Woods. Previous Next

Home Acknowledgements Endorsements News Profiles This Month's Reviews Review Archives Search More Thank you to the following artists for their endorsements. Jayme Armstrong What a pleasure to chat with Joe... One of the best interviewers I’ve come across with fabulous questions about creating theatre during a pandemic and the state of the industry moving forward. Drayton Entertainment & Enchanted Entertainment Steffi DiDomenicantonio Joe is so much fun to talk to and asks some awesome questions. I love talking about theatre and it's always nice to meet someone who likes to as much as I do. Artist and Performer in Toronto Company of ‘Come from Away’ Liz Callaway I am so appreciative of all the work Joe did in preparation of my profile and the other ones he has compiled. His attention to detail in the many points of our conversation, and in the other profiles I've read online, as well his caring manner made it easy for me to open up and share my thoughts on how I, as a performing artist am faring during this tumultuous time of the worldwide pandemic. I applaud his continued work in serving the theatre industry. Cynthia Dale I had a wonderful time speaking with Joe. He is a smart, kind and joyous man who loves our industry as much as I do. He made it easy to open up about the wonders and struggles of being a performer. I applaud his endeavours and say ’Bravo’ to all he is doing to remind us all about the magic of life in front of behind the footlights… Street Legal, Stratford Festival Michael Cerveris I had the distinct pleasure to be interviewed by Mr. Szekeres and, in addition to genuinely enjoying our conversation, was delighted with the finished piece. It accurately captured our discussion in a highly readable form. More importantly, his appreciation and respect for the theatre and concern for its future made the whole experience very worthwhile. Tony Award winner Mitchell Marcus Thank you for keeping the fire burning. Rick Miller Joe Szekeres has earned an important place in the Toronto theatre ecology, bringing commitment, curiosity and intellectual honesty to his … reviews. I’m grateful for his support of my work, both as a solo artist and as a co-director of Kidoons stage productions. BOOM, MacHomer : The Simpsons Do MacBeth Sergio Di Zio Joe Szekeres reached out, early in this pandemic, to feature me in his Artists in Isolation series of interviews. I thoroughly enjoyed our talk over Zoom. His questions provided an excellent opportunity for some self-examination of what an artist can aspire toward during Covid-19 and what gifts and challenges its struggles might bring. His curiosity is genuine, and his kindness is welcome in this unique and surreal time. And the feedback I received from friends who read the piece was that they could hear my authentic voice, which, in my opinion, is the highest praise of the interviewer. Flashpoint, Coal Mine Theatre Lucie Arnaz Luckinbill Intelligent. Engaging. Thought-provoking questions. Always a pleasure to be interviewed by a pro who does their homework and is truly interested in the person they are talking to. On the journalistic front, Joe is a rock star! Craig Lauzon I’ve done a lot of interviews and almost always you can’t wait for them to be over. Not with Joe, he actually knows how to talk to people and put them at ease…we could have chatted all afternoon. The Royal Canadian Air Farce, Soulpepper Amy Keating Collaborating with Joe was an absolute pleasure. He is thorough, passionate and highly knowledgeable about all things theatre. I felt engaged, taken care of, and heard during my time working with him. Raoul Bhaneja Remarkably, during such a dispiriting time in the theater, the majority of this pandemic so far, Joe took the time to speak to numerous theatre artists, including myself, to inquire about our state of mind and work. I not only appreciated the opportunity to be profiled but I enjoyed reading the profiles of my peers. An excellent contribution and chronicling of our theatre scene.

Back Chilina Kennedy Moving Forward (from Chilina's Twitter account) Joe Szekeres Chilina Kennedy certainly has a lot going on in her life right now as you will see from her answers below. With a five-year-old son who is the pride and joy in her life right now, I am grateful she was able to take a few minutes from her schedule to check in with me as she moves forward into a new way of living. Along with her work as one of the Co-Artistic producers of Eclipse Theatre, Chilina is a top-notch and dynamic performer. I’ve seen her work as Mary Magdalene in Jesus Christ, Superstar at The Stratford Festival. I hadn’t heard the music from ‘The Band’s Visit’ so when I attended the opening night performance through the Mirvish series I wasn’t sure what to expect. I did like the story, and one of the reasons why was her performance. The one role I will always remember her was in ‘Beautiful: The Carole King Story’. I had taken m sister as my guest when I reviewed the opening night production. My sister, Kathy, even remarked how I put my pen down as I didn’t want to write any notes but simply enjoy what was presented before me. It was glorious. Thank you again, Chilina, for taking the time from your schedule: It appears that after five exceptionally long months we are slowly, very slowly, emerging to a pre-pandemic lifestyle. How has your daily life and routine along with your family’s life and routine been changed? Well, it’s interesting that you asked me at this point because I’m in quarantine with my five-year-old son. I didn’t want to lose our green cards so we had to go back to the US for three nights just for the while we re-applied for the entry permits so we could stay in Canada for the next two years. Once you come back, you have to quarantine and they’re very strict about it as they should be. It’s been very interesting. He still continues with at home learning. He had a drum lesson this morning and we’re about to go into a home school situation with three or four other kids. We’re going to take turns as each family is going to teach on a different day. It’s been fascinating, but unfortunately for people in our business there has been virtually a 100% unemployment rate in the terms of performing artists at least. People are able to continue doing all other sorts of things which is great, but at least in terms of the performing arts film and tv are starting to come back and that’s been great as I’ve had lots of auditions for that kind of stuff. But everybody job that I had has been cancelled which is disappointing. Were you involved or being considered for any projects before everything was shut down? I was supposed to be playing Fantine in ‘Les Miserables’ right now. That’s a disappointment as I’ve always wanted to play that role, and I figured it was my opportunity to do that role now. I don’t know if I’ll get that chance to do it again. I just had a fitting for it when the pandemic hit. A lot of things are now shooting in Canada so they’re looking to fill a lot of Canadian quotas, the American companies are, and there are a lot of Canadian companies that are too. That’s good news plus the online concerts. What has been the most challenging element or moment of the isolation period for you. Solitude is not something I’m afraid of even with my five-year-old son. I quite like it. I like the peace of mind it brings. It’s a positive thing really. The hardest part for me initially was not seeing my parents for the first couple of months until we decided to bubble with them. It was tricky because we came from New York, so we were really worried that we were carriers of the virus. The last thing I wanted to do was to spread it to anybody, particularly my aging parents. That was hard with the panic of what to do. And the panic of what to do with my apartment in New York. That still remains a challenge but at least I’ve got somebody in there right now. Life as we know has kind of died. It’s a bit tricky because I’m never going back to that apartment in New York as I’m going to let it go. Everything has just changed. I don’t know if Broadway will ever be the same again. In some ways, that’s a good thing because we’re learning a lot of lessons in this time. It’s challenging, that’s for sure. I agree with the comment that Lucie Arnaz also made about Broadway not coming back until the fall of 2021. I think it will be at least that. People are very creative and there are lots of interesting ways of getting around things. As you know, I’m the Co-Artistic Producer of Eclipse Theatre here in Toronto along with a bunch of other people. The company is trying to follow suit and do some of the things we want to do at a distance, but it’s challenging. Our systems have not really been tested yet, so we don’t know yet what we’re doing. What had you been doing to keep yourself busy during this time of lockdown? To be honest with you, there has been a lot to do, running the household and keeping my five-year-old entertained. I want to make sure he’s stimulated so we have a lot of projects happening. I’ve been re-doing my basement, cooking a lot, and I’ve had tons of auditions which has been great for film and tv so that’s been helping me to get my chops back up. We’ve been setting up an Education Department at Eclipse which has been great. There have been some online classes and I’ve been teaching a little bit. Most importantly, I’ve been remembering how to relax, gardening and doing things like that. I’ve also been trying to open my eyes and educate myself on what’s been going on in the world. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of Covid-19? What advice would you give to new theatre graduates about this time? Oh, that’s a very good question. In fact, I’ve just offered some words to artists at York University who are about to start school next week. My advice, and you can take it with a grain of salt, “I hope that people don’t feel discouraged.” I know it’s a challenging time but theatre is going to survive, it’s never going to die. We’ve been through wars, through pandemics and all sorts of things and theatre has always survived. I think it’s going to look a little different on the other side, but I think we’re going to get through it so I hope the next generation of artists are training as hard as ever because they’ve got to be ready when we ARE ready to come back. This is a pause button and an opportunity to reflect. It’s a time of great change so if we can learn something from this time and move forward with new voices and new stories and exciting material coming out of this time, we’ll be all the better for it and have a stronger arts community. A lot of the great artists wrote their masterpieces during times of great suffering and trial – ‘King Lear’ was supposedly written during the Great Plague. Do you see anything positive stemming from this pandemic? If we take the bull by the horns, I see a lot of positive change. I also see a lot of possibilities to revert back to the way we were, and I don’t think that’s a very good solution. There’s a lot of push and pull – there are a lot of people who do want lasting change, and I think there are a lot of people who have a stake in the way things used to be and want things to go back to the way they were. And I understand both as there is a comfort and familiarity in going back to the old ways. We’ve got to strive ahead in a much better fashion than we were before. I feel encouraged for the environment, for diversity in representation. In your opinion, can you see Broadway, the Toronto, regional and North American professional performing arts scene somehow being changed on account of the coronavirus? I sure hope there is diversity in representation with the BIPOC voices and communities. I hope there is a lot of change. I think there should be change. There should be more listening happening, much more diversity and inclusion in terms of stories that we’re telling, and who’s telling, and who’s creating them and the way we collaborate. I think we have this great opportunity to enter a new phase of how we create art and how we tell it. What are your thoughts about streaming of live productions? Will it become part of the performing arts scene in your opinion? Have you participated or will you participate in any online streaming soon? Well, I’m probably going to misquote somebody. I’ve heard somebody say there is a name for acting on camera and it’s called film and tv. I don’t think live performance is meant to be Zoomed. It’s weird. Frankly, I’m not a huge fan but if that’s all we have well I think we’ll find creative ways to present it in a fresh capacity. To be honest, isn’t there a term – I think we’re all getting a bit Zoomed out? People are just aching to be back together again in the theatre. There’s something about gathering that is so unique to what we do for a living, breathing the same air, and the heart beating at the same time as we wait for the production to begin. Indeed, it’s a shared experience. It’s so important and those live emotions that are shared with each other do not exist through a screen. It’s only a percentage of the experience. Obviously, artists have to be compensated appropriately if streaming is the only possible option if any kind of profit is made. Despite all the change, the confusion and drama surrounding this time of re-emergence and recovery, what is about performing you still love? I love creating new work as that is probably my greatest love. One of the things I have been continuing to work on is a new musical that I’ve written with Eric Holmes who’s one of the writers on ‘The Good Fight’. He was one of the writers on ‘Smash’. He’s a fantastic guy, very talented and he and I have been working on this new musical for a couple of years. We’ve been continuing to bash away at it. It’s wonderful because I do have a piano in my house, guitars and ukuleles and all sorts of instruments around the house. My son and I make music together. I continue writing my show. There are ways to keep at it. I was sitting in an outdoor gathering with a bunch of wonderful women, friends of mine and colleagues and we were all sitting at a distance around this fire. We were talking about singing, not for the pay cheque, but just for the fact we love to sing and that’s something I think so many of us have forgotten. Now this chance, this quiet opportunity has made many of us so aware that we miss singing simply for the joy of it. We started singing in this circle with all of us getting involved not because we were getting paid or people were watching, no job at stake. It was just for the simple fact we love it. We were just feeling that live vibration in that space and right in that particular moment, in that outdoor space. And I think that to me, “Oh, wow”, I think back to when I was a kid just starting out. And it’s the whole reason why I do what I do. That’s why I love it. Previous Next

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

Back Shakespeare's Will by Vern Thiessen Staged by Winnipeg, Manitoba's Shakespeare in the Ruins Leif Norman Joe Szekeres Teaching the world of Shakespeare’s plays to high school students for thirty some years certainly came in handy in watching a filmed recording on location at The Prairie Theatre Exchange Mainstage of Vern Thiessen’s ‘Shakespeare’s Will’. But that wasn’t enough for me. A basic introduction of William Shakespeare is made clear in playwright Thiessen’s script. Anne Hathaway (Debbie Patterson) is six years older than her husband. There are three children from this marriage: Susannah and twins Hamnet (called Harry in the script) and Judith. Will leaves his family to go work in the theatre while his wife remains at home with the children. There was reference in Shakespeare’s will that upon his death Anne would receive his second-best bed. Beyond this rudimentary knowledge, I have no idea if playwright Thiessen completed any research into Anne’s life and how she coped in raising three children while her husband was away earning a living in the sinful theatre and sending money back home to his family. I didn’t care about that at all. Instead, I cared more about wondering if I was going to see a production that would grab my attention. I’ve always been intrigued with the Elizabethan era in which Shakespeare wrote plays and the myriad of individuals from that time and their connections. Since I had seen photos and brief commentary on Winnipeg’s Shakespeare in the Ruins Facebook page that this would be a solo performance featuring artist Debbie Patterson, I had some questions in whether a solo artist and script could possibly do justice to this complex and intriguing world of the Bard. I needn’t have had to worry about that. To quote Lucie Arnaz Luckinbill about the recent upcoming film version of her parents in Aaron Sorkin’s ‘Being the Ricardos’: “It’s frickin’ amazing.” The same holds true here for Thiessen’s engaging script and this SIR consuming production filmed by Sam Vint. The play opens where artist Debbie Patterson wheels herself out in front of what at first resembles a rectangular sandbox with various small objects of small twigs and what I thought looked like a small piece of birchbark. And that’s it. Hugh Conacher’s Lighting Design sharply focuses those moments of dramatic intensity where needed. I’m sure Director Eric Blais worked closely with Patterson to ingrain a sometimes gritty, sometimes raw based naturalistic performance. If Anne sensed that her husband had a male lover in London, she too was also going to enjoy that same ‘pleasure’ as he may have done. I simply forgot that she is in a wheelchair and just focused on her splendid command of telling the story fearlessly and unashamedly especially in learning about honoring the vows Anne and Will (supposedly? possibly?) made to each other regarding living their own lives. A definite fascination for me was watching Patterson ‘play’ with the sand in the sandbox. At the top of the show, we learn that Anne just buried her husband that morning in the Church and she is at home right now talking to him. Periodically she is reminded of events from her past when she was alone with the children and when she had to leave her home in the country and travel to the sea for the fear of the plague which crippled city life. All the while she tells the story, Patterson’s hand movements in the sand are not just mere play. They are carefully choreographed as objects are sometimes pulled from the sand while others are placed at the side. Small twigs, tiny objects and carefully built wooden frames (that sometimes reminded me of Jenga) were placed around the box for certain effects. But why the use of sand? And then it dawned on me about halfway through why sand was used as an effective dramatic tool. A possible spoiler alert to follow (or this is what I saw). As Anne, Patterson delivers a virtuoso solo performance in sharing a life that was not perfect, but whose life is perfect? Nevertheless, one hopes that all lives can be built on solid foundation (of trust, of love, of acceptance) within a marriage and raising a family. Here, in this production, nothing is concrete and can remain solid and standing within sand. It can be wiped away quickly, and Patterson was constantly moving the sand around to remind there is no solid foundation here within this family and these loves. Clever, unique, different, and sad. Running Time: approximately 90 minutes. ‘Shakespeare’s Will’ will be streamed online until December 5. Tickets are Pay What You Choose: $1, $5 $10. For more information and how to stream the production, visit www.shakespeareintheruins.com . Artistic and Production Team: Written by / Vern Thiessen Directed by / Eric Blais Costume Design / Debbie Paterson & Eric Blais Props Design / Eric Blais & Heather Lee Brereton Scenic Design / Adam Parboosingh Scenic Design Assistant / Joyce Licup Sound Design / Ridge Romanishen & Chris Coyne Light Design / Hugh Conacher Production Manager / Hugh Conacher Stage Manager / Ridge Romanishen Props & Wardrobe Coordinator / Heather Lee Brereton Scenic Carpenter / Khaeler Bautista Film Director / Sam Vint Camera Operators / Tyler Funk, Rudy Gauer Audio Mixer / Chris Coyne Editor / Jonathan Lê Audio Description provided by Vocal Image Ensemble Winnipeg. Translation and subtitling provided by PARENTY REITMEIER, INC. Previous Next BACK TO TOP

Back Scott J Kyle The Self Isolated Artist --- Joe Szekeres I was encouraged to enter the Twitter universe by the publisher and editor of OnStage Blog. I was a tad reluctant at the beginning to start using it as I was uncertain if Twitter would truly be of benefit personally and professionally. I was assured by my editor and publisher that, yes, it would be. And my publisher was right. I have made contacts with some professional theatre companies and individuals whose work I have admired tremendously and with whom I wanted to keep in touch. Some individuals have also tracked me down. One of these individuals is Scott James Kyle. When he started following me on Twitter, I’ll be honest and say I had no idea who this man was. When I read about him on line and in his brief Twitter bio, I was quite impressed with Scott’s credentials as an actor, both in stage work and film. Since Scott and his wife Karen live in Scotland, I didn’t recognize some of the television series except one – Outlander – where he played Ross. I know Outlander is a series of novels. When it appeared on Netflix, I thought I’d better start to watch it. I still have to fulfil that commitment. What strikes me as both out of the ordinary yet very humane is Scott’s manner of communicating with his followers and his fans. Just from his Twitter verse alone, he values people first and foremost and likes communicating with them. Very out of the ordinary for celebrities, but from what I read about Scott online in his Twitter feed and his website, he and his wife travel round the world meeting many people. He’s not one to shut himself off from communication with his followers and fans. I didn’t know if Scott would agree to this interview as he has over 730.1 K followers alone and he follows 660K individuals. Again, I thought, “What the hell?” and took a chance for an interview. I was pleased when the answers to the questions showed up in my online mailbox for Twitter. Thanks, Scott, for taking the time: 1. It has been just over two months right now that we have been under this lockdown. How have you and Karen been doing during this period of isolation and quarantine? How are your immediate families doing? Everyone is safe and well at the moment, so we are blessed, and we are looking forward to getting together when we are given the green light by the powers that be. 2. Were you involved in any side projects before the pandemic was declared and everything was shut down? Were you involved in the planning stages of any new projects? What will become of these new projects that were in planning stages? Yes, I had a new movie that I was supposed to be filming in March before going into rehearsals for a theatre show that was to be touring in April and May of this year. I’m hopeful these projects will be able to go ahead when the lockdown ends, and things can return to some degree of normalcy. 3. What has been the most difficult and/or challenging element of this period of isolation for you and for Karen? I think we’ve been okay with the lockdown actually and the restrictions to movement. We just got round to lots of work that we have been putting off in our home and garden. The most difficult part of the lockdown has been not seeing our friends and family. Karen and I are very sociable, so it has been sad not to be able to see everyone. 4. What have you two been doing to keep yourself busy during this time of lockdown? Karen and I have been going on long walks or cycling to places that we have never been to before in our own area. We’ve also spent a lot of time on DIY projects and our garden. I’ve been working a few days a week with a local charity so that gets me out of the house and makes me feel like I am contributing something during these challenging times. 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? “Infinite patience produces immediate results” – this is a mantra that has served me well over the years and is helping me to get through this lockdown. 6. Do you see anything positive stemming from this pandemic? There will be lots of positive things people will take from this pandemic. One of them will be a newfound appreciation for their friends and family whom everyone has missed so much (this includes Karen and I). Another will hopefully be a realisation that we have been taking a lot of things for granted. 7. In your estimation and informed opinion, will the European performing arts scene somehow be changed or impacted as a result of COVID – 19? It will be very difficult for all venues to come back from this, but within those challenges is also a huge opportunity to right a lot of the wrongs in our industry, and give more performers a chance to have a career in the arts. Some of those careers might be an outdoor/online performance driven work which I think will be a part of the industry moving forward. 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? It’s great to see people are continuing to be creative even during the lockdown with the streamed performances and workshops. I have been asked to do workshops online and to be part of various online filming projects. However, I’ve decided to use the lockdown to spend more time with Karen as we have been busy over the past few years, and I really wanted to focus on her. Since the lockdown has continued, I have agreed to do interviews like this one and I’ve done some cameo videos, but that’s about it. 9. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? To me, acting and story telling are very spiritual processes and experiences for the performers and the audiences. If anything we need these connections now more than ever. I am looking forward to seeing how the creative minds of the artistic community respond to the new challenges. I think the future is bright for the arts. “Inside the Actors’ Studio’ was a weekly televised American program where its late host, James Lipton, used to ask the following ten questions to his guests at the conclusion of his interview: a. What is your favourite word? Namaste b. What is your least favourite word? Impossible c. What turns you on? Spending time with others d. What turns you off? Negativity e. What sound or noise do you love? A scratch at the window from Jess, the neighbour’s cat. f. What sound or noise bothers you? Babies crying. g. What is your favourite curse word? The “F” bomb. h. What profession, other than your own, would you have liked to attempt? Motivational speaking. i. What profession would you not like to do? Being a soldier and killing people. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You’re late” You can follow Scott on Twitter: @ScottJKyle1. Previous Next

Back Amy Keating Looking Ahead --- Joe Szekeres Amy Keating’s affection for live theatre has not abated at all on account of the pandemic. If anything, her unabated enthusiasm is so contagious that I caught it and was reaching that same height of missing the theatre crowd. You could read theatre ‘geeks’ in here if you wish because Amy said she loves them and misses them so much. Me too. Our recent conversation kept me smiling and laughing throughout the 45-minute interview. There was no pretentious air about her at all, and she made me feel very comfortable during our Zoom call that we even dropped some colourful language as we discussed so much. We were both surprised that time had slipped by so quickly without us even knowing because we had so much to say and to hear. First time I saw Amy on stage was at the Stratford Festival as Cathleen, the Irish housekeeper, in a hard hitting ‘Long Day’s Journey into Night’. And then to see her in a completely different role in an outrageously bloody good production of ‘Hand to God’ at Toronto’s Coal Mine Theatre. And finally, Amy’s appearance in ‘The Flick’, at Crow’s Theatre which was the first production I reviewed there. You wanna talk about a show where I did not write any notes down on paper during a jaw dropping three hour running time because I couldn’t avert my eyes from the onstage action, not even for one second. She is a Toronto-based actor originally hailing from the Prairies. Amy works in both theatre and film and is three-time Dora Mavor Moore nominated actor. She is a founding member and associate artist of Outside the March with credits: The Flick, Mr. Burns, Passion Play, Mr. Marmalade. Favourite Film/TV credits: Murdoch Mysteries; Ginny & Georgia; Killjoys; P!GS (short film); SUCCULENT (short film). Fave theatre credits: Long Day's Journey into Night and Julius Caesar (Stratford Festival); The Glass Menagerie (Grand Theatre); Wormwood (Tarragon Theatre); The Importance of Being Earnest (Capitol Theatre). Thank you so much, Amy, for adding your voice to the conversation: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. It’s interesting, Joe, to talk about how it has changed on a personal level, but I also want to talk about how it’s also changed on a macro level as my mind has also gone there in reflection. I feel there’s been a lot of changes and awareness with all of the social justice movements this year. I really do believe and I’m really grateful for the time that we’ve all had to take as the ‘big pause’ allowed us to re-think. Capitalism’s ideology is, “Go, go, go, make the money, make the money, do the hustle, do the side hustle”. I believe, without this ‘year old pandy’ (as my friend says), we wouldn’t have had the opportunity as we would have been too busy and still too caught up in ourselves to slow down and pay attention to what’s happening in the world. In terms of my bigger life, and I imagine this is what many of the artists have probably said, the chance to slow down and, of course, I’ve been privileged enough to have a safe house, to have running water, to have a home and TV to watch Netflix on at night. (Amy and I share a quick laugh because I’ve also done the exact same thing.) But the time to slow down, I’m really, really grateful for it. It’s been refreshing in a way, and I’m both incredibly excited, obviously, but also nervous to go back to that hustle. I think in this profession too there’s always the feeling, both in a beautiful way and in a sometimes-stressful way, of always having to be somewhere and do something and to be creating, and putting yourself out there, and meeting people. It’s time to slow down, and I’ve learned to say No as I may want to sit down and open a book of poetry one morning and read. Or maybe I might just want to lie in bed one Saturday morning or walk to the water. To have that time has been really, really cool. 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? Joe, I see the precariousness of it all. I try not to stop and think about it. When I think about the repercussions, I get really worried as an artist. I told my partner, Mitchell, that it’s also possible the year I just spent was a year I would spend in normal times. You never know that I could have had five plays, five shows back-to-back, a couple of days on set, some workshops OR I could not have had any of these. I could have been working in my three other Jane jobs the whole time or could have had nothing. As an artist, you’re used to that life in a way anyway. When I think about Crow’s Theatre, Canadian Stage or any of the smaller companies, students who have graduated from theatre school, I worry about all of this. For the theatre graduates, are we going to lose them because the pandemic may have dried up opportunities? I’m worried about this precariousness. It’s a profession, it’s a job, it’s a joy, this business but it’s so tenuous sometimes. I hope it’s going to recover because when it does, it’s going to be glorious. When I saw Stratford’s announcements of outdoor theatre, I gasped with excitement because yes, it’s coming back, get me back, please. As a professional artist, what are you missing the most about the live theatre industry? The community. The everyday play with people. During this time when we’re outside walking on the sidewalk, we see others and yes, we too, we move to the side. It’s our calling as artists to move closer, not just physically but with our hearts, with our breath, with our minds. I miss that. Trying to lock in and connect. It’s connecting with people and playing with them. 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? (There was a long pause from Amy as I could sense she wanted to say it right) It will be the ability of a large group of people, audiences, and creators of a piece to be in the same room together. Because that’s the magic. That is what we have missed this past year and a bit, especially me with Netflix. (and we too share a quick laugh). It’s that, and that’s what scary right now is the gathering of big groups of people. Who knew even two years ago we would have said, “You know, next year is going to be really difficult and really dangerous to get over 20 people in a room together.” And I would have said,” No, what are you talking about, that’s my job to do that.” This also includes the audience too because they will wonder if it’s going to be safe for them. Yes, actors can rehearse outside but is an audience safe to watch you? Every day and every performance I will thankfully say, “Look at all the people who are here, even if it’s five of them.” We may not be sold out but we’re here, that audience is here, how lucky are we!!!!!! Describe one element you hope has changed concerning the live theatre industry. I feel as if this last year plus has forced us to slow down in multiple ways. I hope that when we get back to working, creating, and playing, we’re also going to slow down. And that, to me, means being able to take care of everyone who is in the room and be able to be present with everyone who is working on the project, everyone who has come together. That means meeting people where they’re at; that means dealing with anti-racist actions and making sure that people are being seen and taken care of. It must be noted where people are coming from and what they need on any given day. And if there’s something hurtful in the work, said in rehearsal or in the script that we’re able to (and money is always a thing, Joe, you know) that we’re able to call it IN or OUT first off and then take the time and say, “Hey, this doesn’t work. This isn’t helpful for us. Let’s take the time to do something different, to re-evaluate it and to change it.” We’ve done this already for the last fifteen, sixteen months outside the theatre. We now must bring this into the theatre. It can only be a good thing for any production if people are being seen, we meet them where they are coming from and to hear them. Explain what specifically you believe you must still accomplish within the industry. Oh my God, what a cool question. One thing – EVERYTHING!!!!! (And again, we had a good laugh) Oh, Joe, this is the hardest question because I actually do believe it’s everything. Here’s my thesis (and again Amy took some time because I could sense she wanted to say it right and to get it right) I started doing a bit of film and tv. I just finished my first short film, and I would like to find different ways to work and collaborate with people. So, I’d love to be part of a process or to lead a process that would stretch the container of the three – four-week rehearsal process. I feel I’d like to work in a playful way. I think I would like to write. I would like to direct. I directed once before and nearly killed myself, Joe. I was living off coffee and cigarettes and wasn’t sleeping. I want to go back and try it again. I think it would be fun, but I would like to pick the play. It would have to be a play I could see that I would want to do. Here’s the last thing I’ll say – I want to work in big communities of people. I think a lot of shows are kept small on account of budget. When we did ‘Passion Play’, it was a cast of 12. There were 3 directors. It was very large, and I would love to work in that way again, kind of on an epic scale and do plays that are 5, 10, 12 hours long with five directors and a cast of 20. (and I start smiling and laughing as Amy’s enthusiasm is contagious) We’ve been at home for the last year and a half doing nothing, and I want to work on a big, big scale. That’s what I want to do. 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. Joe, let’s re-phrase this question, okay? “Am I prepared to participate both as a professional artist and as a theatre goer in the potential tsunami of Covid themed plays and stories when we immediately return to the theatre? I’m going to echo several of the artists whom you have interviewed who have quoted the same thing…” Fuck, no!!!!!!!!!! (With uproarious laughter from both of us) Definitely not! I don’t want it! I actually wonder if down the road, say ten years from now, a Covid play might be interesting. Right now? No, no no… What I am a fan of now is Black Mirror on Netflix. There’s a cool thing about this show in that it’s not science fiction but more like a drama where it takes the world we live in today and just switches one little thing, just one thing about society. For example, what if in advertising we put a chip in you and see what happens, or your whole social status was based on how many LIKES you received daily. What I find interesting in this comparison of the show to Covid are the connections to some of the anti-vaxxers, anti- mask individuals. If we take the themes from this time of Covid and explore into a play. I don’t want to see any kind of Covid re-creation, but I do think there’s some interesting things revealed about people and society in general at this time. Those themes would be interesting to explore OUTSIDE of a Covid backdrop. I don’t want that. Now, if someone wrote a Covid themed play with me in mind and offered it to me for next year, I might say, “Too soon, too soon.” But if it’s my first theatre job offer in a post Covid world, I might just say, “Yes, please.” As an artist, what specifically is it about your work that you want future audiences to remember about you? For me, specifically, this is such a self-reflecting In Memoriam. I feel the thing for me that makes live theatre so exciting for me and what I want to see in the actors when I watch, and what I want to bring to the stage, is a certain playfulness, aliveness and electricity that makes people feel that this interaction at this moment is new every time. It’s that kind of work that Outside the March reflects in that it was important that you were here on this night (or, in a matinee, this day) to see this interaction at this moment. This night is different because of you, the audience member, because you’re here. I’m really leaning into this In Memoriam question, Joe. I trained in Clown. I studied a lot of Clown in school. That’s all about breath, being in the moment, following impulses and listening. It’s not about trying to be funny, but it’s about being open and receptive. That’s what I aim to do – to be present, to be playful and open with the people I’m creating with on stage, and the people that I work with through rehearsal, and the audience as well. It’s bringing that magical electrical feeling into the room. You can follow Amy Keating online at Instagram: @lil_keats. You can also follow Amy’s first short film account SUCCULENT on Instagram: @succulentthefilm. Previous Next

Back Nathalie Bonjour Looking Ahead Brian Medina Joe Szekeres For someone like myself who has never had any formal training or background education in dance, why is it important to reach out to those of us who have no expertise in this area? Director of Performing Arts at Toronto’s Harbourfront Centre Nathalie Bonjour was grateful to have a Zoom call with me where she was eagerly willing to engage in such a conversation. Her response regarding those audience members who have no training in dance: “I don’t think you need to have any background or academic understanding of dance especially in this [upcoming] piece of [Chapter 3: The Brutal Journey of the Heart L-E-V Israel]. The music is very strong in this piece so audiences will be drawn in right away as is the lighting. This is a piece where audiences must let themselves be carried on the journey. The movement is very particular, very unique. There’s an energy as there is a tension in wanting to move forward but there is an extension back.” Bonjour emphasized clearly that it is the emotion and the tableaux on stage that speaks to audiences, and one doesn’t have to have any background or training to experience and feel that. I agree with her on this account as those dance productions that I have had the opportunity to watch, to listen, to hear have spoken to me on many levels. The Canadian premiere of Chapter 3: The Brutal Journey of the Heart L-E-V Israel opens March 3 and plays again March 5, 2022 at Toronto’s Harbourfront Centre. It will play in New York first before it opens here. Choreographed by Co-Artistic Director of L-E-V Israel’s Sharon Eyal this production opens Torque, Harbourfront’s international contemporary dance series. From a press release I received, Ms. Bonjour states that Journey: “invites us on an exhilarating journey through the extreme states of the heart, from anguish and fervour to passion and rage. It is a universal narrative, and we can all intimately relate to L-E-V’s vulnerable study on heartbreak.” Additionally, stunning costumes for the dancers, designed by Christian Dior’s Maria Grazia Chiuri, emblazoned with one bright red bleeding heart will emphasize the sensuality and the emotion of the work. Bonjour spoke candidly and compassionately about the heartbreak for all those involved in the art of dance as the community has suffered just as all professional artists have experienced. But with the dialogue of Black Lives Matter and Indigenous residential schools, the truth, and their creators and creations, the dance community has become stronger in the last two years. Harbourfront Centre has been creative in finding ways to get through and keep going these last two years. The company had to learn how to become video producers and come together as presenters and learn how to support artists in other ways creatively. Like many of the professional performing arts companies, Bonjour recognized how programming changed at Harbourfront. There were a number of live streams and pre-recorded shows along with a lot of digital experiences in working with AR and VR in person. Outdoor installations and projections also filled the void so audiences from the last two years could still come down to the Harbourfront and remember there is a performing arts Centre there. Bonjour supervised The Junior Festival and The Summer Music in the Garden. Some of these editions were done online completely during the first summer of the pandemic. In the second year, Bonjour recognized how people have been on screens a lot and how could Harbourfront do something different? There was investment in commissions of works that could be seen later when Harbourfront re-opens. The Toronto International Festival for Authors has done two editions fully online. When theatres reopened but not to the general public, there were production residencies at Harbourfront for artists to continue working on their shows. As a larger organization in the ecosystem of the performing arts, Bonjour wanted to know how Harbourfront could help other organizations so when everyone goes back there are those smaller presenters as well. It followed through with a financial partnering with The Citadel where there was support of three solos by female choreographers. In August, Harbourfront welcomed the National Ballet of Canada as an outreach and it was so successful that Harbourfront will be doing it again. On the national level, Bonjour was part of an alliance that was created with other dance presenters - the NAC Dance Department, Danse Danse in Montreal and Dance House in Vancouver - to start an initiative called Digidance. In concluding our conversation, Nathalie and I spoke about how it is the anticipation in watching dancers move and intertwine with each other that makes dance productions visually moving for me. I have seen some Fall for Dance Toronto productions over the last couple of years and have been captivated by the dance artists’ electric synchronicity with each other. I’m looking forward to experiencing what Bonjour describes for Journey as a universal narrative on heartbreak since we’ve all been there at one time in our lives. I hope you will also join this journey. Chapter 3: The Brutal Journey of the Heart L-E-V Israel performs live March 3 and 5 at 7:30 pm at The Fleck Dance Theatre, Queen’s Quay Terminal 3rd Floor, 207 Queen’s Quay West. Suggested ticket prices are $20 - $ 95, Pay What You Wish. Ticket link and website: www.harbourfrontcentre.com . Previous Next

Back 'London Assurance' by Dion Boucicault Now on stage until October 25 at the Festival Theatre, 55 Queen St., Stratford Now on stage until October 25 at the Festival Theatre, 55 Queen St., Stratford Geoffrey Coulter, actor, director, adjudicator, arts educator. "Audiences are assured belly laughs and hijinks aplenty, aptly demonstrating the comedic prowess of this finely crafted Victorian farce." I’ll admit I’ve seen my share of great British farces from yesteryear – “The Miser,” “School for Scandal,” “An Ideal Husband,” and the frolicsome “The Importance of Being Earnest.” But Dion Boucicault’s “London Assurance” is new to me. After attending the opening night performance, I left the theatre, celebrating its emergence from the shadows of obscurity into its blinding gleam of comic gold. This delicious high comedy of manners and social status, written in 1838 when Boucicault was only 18, paved the way for the radical works of Oscar Wilde and George Bernard Shaw several decades later. Yet its melodramatic mockery of British upper classes of the mid-1800s is as apropos today as when it debuted in 1841 before enthusiastic audiences in New York and London. Its satirizing take on the pretensions and fashions through sexual innuendo, puns and slapstick quickly made this a literary canon gem. Why had I never heard of this play? As director Antoni Cimolino states in his program notes, “The sense of modernity…may surprise audiences. As will the strength of the female characters.” He’s got that right! Most of the play’s female characters were written as an assault on the Victorian notion of womanhood, full of irrepressible agency and independence with unconventional, blasé notions of status and marriage. If you’re a fan of the Bridgerton series, the commanding Lady Danbury comes to mind. Meanwhile, the men are mostly fops or dimwits who learn by the play’s end that being a gentleman is not defined simply by inherited wealth but by how well one behaves toward others. The silly goings-on start in the drawing room of Sir Harcourt Courtly (Geraint Wyn Davies), an over-the-hill London fop with his sights set on a scandalously younger bride, Grace Harkaway (Marissa Orjalo) who, because of a loophole in her father’s will, must marry Harcourt to claim her substantial inheritance. The rest of the play is set on the grounds of Oak Hall, a country estate owned by Grace’s wealthy uncle Max (David Collins). But instead of a quiet weekend of courting in the country, Courtly and his betrothed are interrupted by an unexpected gaggle of holidayers, including the witty and eccentric Lady Gay Spanker (Deborah Hay) and Courtly’s drunken son Charles (Austin Eckert), disguised to escape his London creditors. Cimolino has assembled some of the Festival’s most seasoned comedic performers as well as relative newcomers that prove their stars are on the rise. Cimolino keeps the pace and energy clipping along and, for the most part, effectively blocks his actors on the thrust stage. I did feel the stage right side was underused with too many scenes at centre or to the left, leaving the audience on the right side not seeing everything. Several actors also remained static for too long, blocking each other’s faces and reactions, such as the first appearance of Lady Gay Spanker. From where I was sitting just right of centre, I missed most of her exuberant and hilarious facial contortions during this scene. As the dandy Sir Harcourt Courtly, longtime Stratford star Geraint Wynn Davies is foppishly fun. His pompous and vacuous lifestyle of excess makes him fodder for the more “enlightened” county folk he encounters at the estate. It would be very easy to play this character as a caricature, two-dimensional and unbelievable. Wynn Davies seems very aware of this, and at times, his performance lacks the colour to match his vibrant costumes and clown-like makeup. I wanted more dandy. An affected gesture, or more distinctive walk would not have been wasted here. In fact, other supporting characters, such as Spanker and lawyer Mark Meddle (Graham Abbey), found that edge and often eclipsed Davies in funnier and more engaging performances. As bride-to-be Grace Harkaway, Marissa Orjalo is a revelation. It’s only her second season with the festival, and she has secured a star turn, and she is marvellous! As Grace, she is feisty, charming and has an excellent command of the exaggerated physicality, line delivery and timing that farce requires. Her affected British accent is spot on, too! Just as perfect is Austin Eckert as the dissolute Charles Harcourt. His haughty “party boy” demeanour as alter ego Augustus Hamilton is hilarious, and his appearance later as a bespectacled, scarf-wearing nerd (a la Harry Potter) boasts his agile versatility. Emilio Vieira as Dazzle oozes with sleazy charm while Rylan Wilkie plays the trusty valet, Cool, with aplomb. His imperious, snobbish line delivery while endlessly standing at attention epitomizes comic subtlety. Deborah Hay, as Lady Gay Spanker, steals every scene. She’s an extraordinarily gifted artist. She, too, has excellent comedic timing. Her winks, nods and eccentric asides had the audience laughing endlessly. Yes, she’s outlandish and over-the-top, but she also seems to be having a glorious time embodying the character’s mischievous joie-de-vivre. Michael Spencer-Davis is equally uproarious as the doddery Adolphus Spanker. He plays up the enfeebled geriatric to the hilt, milking every move and expression. Another riotous performance that had me in stitches. Graham Abbey, as Mark Meddle, also delivers on his role as the weird and nutty lawyer. He is loud, boisterous, overblown, overwrought, and brilliantly overdone. The balance of the cast is fine in supporting roles. Nick Dolan is dizzy servant Seth Soakem, Hilary Adams is saucy as the maid, Pert. John Kirkpatrick bounds on and off stage as the dishevelled James and veteran actor Scott Wentworth makes a brief appearance as Constable Samuel Squeezer. In terms of production, it’s all about the costumes! Designer Francesca Callow and her team provide a sumptuous and lush feast for the eyes. Gorgeous dresses, suits, hats, rich vests, thick overcoats and especially Sir Courtly’s ornately detailed pink dressing gown are stars in their own right. Lorenzo Savoini’s set and lighting designs are simple and effective. The play starts in a drawing room represented by a few luxurious chairs, a table and draped curtains. The rest of the play is at Oak Hall’s gardens with lots of potted plants, bushes and benches followed by main living room with antlers everywhere. Composer Wayne Kelso provides original recordings of traditional folk music for the dance scenes. Ranil Sonnadara’s thunder and birdsong sound design add an effectively subtle ambiance. Comedies are often viewed as easy entertainment, but the very best comedies offer insight within and beyond the laughs they inspire. Culturally savvy farces like ‘London Assurance’ fill our theatres with laughter while satirically exposing our social follies, reminding us that we can’t take ourselves too seriously in this life. Running time: Approx. 2 hours, 20 minutes with one intermission The production runs until October 25 at the Festival Theatre, 55 Queen St., Stratford, For tickets call the Box Office at 1-800-567-1600 or email www.stratfordfestival.ca The Stratford Festival Presents “London Assurance” by Dion Boucicault Directed by Antoni Cimolino Set and Lighting Designer – Lorenzo Savoini Costume designer – Francesca Callow Composer – Wayne Kelso Sound Designer – Ranil Sonnadara Performers: Geraint Wyn Davies, Marissa Orjalo, Austin Eckert, Deborah Hay, Emilio Vieira, Rylan Wilkie, David Collins, Michael Spencer-Davis and other Canadian artists in the ensemble. (Photo Credit: David Hou. Pictured L-R: Emilio Vieira, Michael Spencer-Davis, Marissa Orjalo, David Collins, Deborah Hay and Geraint Wyn-Davies) Previous Next

Back Craig Lauzon Self Isolated Artists' Series Denise Grant Photography Joe Szekeres When I was teaching full time, Friday nights were always my time to unwind after a busy week at school. I looked forward to ‘The Royal Canadian Air Farce’ each week as I loved their lampooning of current events. It was the year that I was on recovery cancer sick leave from work that I really took an interest in ‘Air Farce’ and watched carefully many of the routines of the performers. I admired Indigenous artist Craig Lauzon’s work on the show, especially in his impersonations of Justin Trudeau and Stephen Harper. When I was preparing to review ‘Orlando’ at Toronto’s Soulpepper Theatre, I saw that Craig was to appear in the production and was most looking forward to seeing it for many reasons. Craig’s appearance was another reason I didn’t want to miss ‘Orlando’. Craig and I spoke with each other over Zoom. First, I must say that he is one helluva decent, down to earth guy and I really enjoyed our conversation. Second, I was also pleased he gently corrected me (and also ribbed me) that I knew him from comedy and then discovered he was an artist with his work in Soulpepper. Craig corrected me by saying that comedy is a form of art, which it truly is, so thank you for that gentle correction and reminder, Craig. To perform comedy takes a skilled artist as there is a beginning, a middle and a conclusion. Craig has had no formal training but has performed in The Second City Touring Company, taken a weekend workshop in 1992 with Sears & Switzer, and learns from some of the best in the business as you will see in his answers below: It has been four-five months since we’ve all been in isolation. How have you been faring? How has your immediate family been doing during this time? Well I’ll tell you, I grew a beard (and he has, by the way. Keep the beard, Craig). The first 7 weeks of isolation, I didn’t leave my apartment. I have asthma. Even though advice and information kept changing, word from the experts was if you have asthma you might be more susceptible to the virus. I have a balcony, thank goodness. I was going a bit stir crazy to be honest. My wife and I decided to rent cars and start going on day trips and drive out somewhere, sometimes to Tweed, somewhere that had a brewery with curb side pick up. We’d buy some beer from a place that we’d never been, drive back, have a couple of beers and discuss the benefits of having a brewery in Perth. My wife has been handling all of this a little bit better than myself. We both would go to the gym quite a bit, especially her, but when that all went away, I could not get into working out in the apartment. I couldn’t do it. My wife is a voice artist as well, so she had more auditions in the first chunk than she had in awhile which was interesting. I’ve got the Covid 19, but all in my stomach. (Me too, Craig). My wife has been a blessing for me especially in those first seven weeks where I wasn’t going out. She would go out and do the groceries on her own, pretty much all the stuff on her own. She was my cave canary. I sent her out, she came back, and everything was good. As a performer, what has been the most difficult and challenging for you professionally and personally? I love acting, I love being in front of an audience, and I love feeling that reaction from the audience when you’ve got them right there in the palm of your hand. I ran into Nina Lee Aquino when I was getting a coffee the other day. She directed me in ‘The Drawer Boy’ at Passe Muraille where I played Angus. Even though there were some small houses, but at every performance, I could just feel the energy from the audience and they really connected with Angus. It’s that connection with people. That connection is not the same through the computer screen. When people talk about how people are a little more are brave online, I think that translates into this as well. There’s a bit of a disconnect as you might say or do something that you wouldn’t normally do because people are not right there. Early on I tried to do a series of monologues from Indigenous playwrights and put them on Twitter and Facebook and Instagram. It’s not the same. I just love being in front of people and performing. That was tough. So, the professional challenge is keeping the chops up during this time. 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 some film and television stuff and some theatre things on the go. I was just about to go into rehearsals for another Video Cab show. We were going to do the Cold War and it hadn’t been done since its original presentation. Michael would be directing with Mac Fyfe as Assistant Director, so I was going to play Diefenbaker. I know you’ve written a profile of Jani Lauzon. We’ve been in talks to doing ‘Where the Blood Mixes’ at Soulpepper. It might still happen, but I don’t know how much in advance they were planning. It would have been fun. I would love to hope ‘Where the Blood Mixes’ especially with Weyni Mengesha (Artistic Director) at the helm. She’s looking to have strong pieces from playwrights of colour and with Jani directing is a real bonus for it to go ahead. She was on fire just before all of this happened and was directing all these hits before Covid hit. It’s exciting and I hope ‘Where the Blood Mixes’ finds a place when Soulpepper gets back up and running. What have you been doing to keep yourself busy during this time? Well, I’m a dad. I have two boys. I share custody with their mom who was living in Barrie and now living in Thornhill so that’s been a bit easier. So, Parenting. And my wife’s family has a beautiful cottage in the Ottawa area, so we’ve gone there a couple of times. I’ve been watching a lot of Australian Rules football, rugby league we’ve a team here in Toronto. And spending time with my wife who is just starting back to work. She works in production so she’s going to start getting busy again. For the last 4-5 months we’ve spent every minute of the day together. It’s been great. 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? Just hang in there. This is just now. Tomorrow is something different. It eventually will get back to some sense of normalcy. People keep talking about a new normal, but I don’t know what normal really is, but we’ll get back to a routine of being able to do what we do. And if you’re in my category, just give up and go into Accounting or whatever just so I can get all the gigs. And I’ve been writing. Eric Wolf and I are working on something, but I can’t share with you yet what we’ve been writing. I’ve been thinking about two things here. Theatre, sometimes, is like church. If people are allowed to return to church, why can’t they return to certain sized theatre? It’s ironic for me to be giving advice to the theatre school graduates since I don’t have the training they have. For what it’s worth from a practical view – find a way to keep training. It’s what I would say to someone regardless. Just because you’ve finished theatre school doesn’t mean you know everything about acting. Keep reading those plays you’ve never had a chance to read. Rehearse monologues and scenes – keep flexing those muscles. Read and memorize as the first thing to go is memory. Keep your brain active – read and memorize. My training has been practical in soaking things up everywhere and every opportunity I have from working with different people like Jani Lauzon, Lorne Cardinal and Nina Lee Aquino and learning from them as my teachers. Do you see anything positive stemming from Covid 19? Maybe not so much in what we’re doing in terms of career wise or in theatre. As a whole, people, planet, it has made people to quote Ringo Starr – “To stop and smell the roses.” There was a collision course coming with our planet and what we’ve been doing to her. It’s slowed consumerism, packaging. To help ease in transition of cooking, my wife and I ordered from some of those ‘to your door’ meal prep services. It sounds great, but with all the packaging from the box to the plastic packaging, we stopped ordering because that’s defeating the purpose. It’s slowing people down and making people take stock which is always a good thing. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? Some theatres might say, ‘We’ll play to a half house”, but I don’t know. Some places that normally jammed how many people aren’t going to be able to do that for the foreseeable future. Even when the Spanish flu hit, it’s amazing how far we haven’t come. The big task then was for people to wear masks. People wore masks for two years. Are we ahead of that? Maybe not depending on how strenuous the strain is. This is Covid 19 and there could be Covid 22. They could be coming in more frequently. The worst thing for this planet is people. For so long people were pushing the planet to the brink. And now she has started to push back and say, “No”. Mother Earth is like ‘Hey, man. Slow down, bro.” 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? Well, I’ve watched some and I’ve done some. For me, it’s not any kind of replacement for live theatre. If we’re doing that, then everyone should just move into television because essentially that’s what it is. I get it that people are looking at it as an opportunity to showcase themselves because people are looking for things to watch. But I worry there’s that thing for Canadian artists and musicians that it’s great for the exposure, but if it’s going to be this way then there has to be something in place for the artist to monetize it. Right now, it’s being pumped out for free as free content and we keep talking with our unions about this to ensure artists are properly and appropriately paid. Not to sound capitalist, but how can we be assured the artist will be paid appropriately for that online streaming/work because we have our bills to pay, families to feed, and we have to live just like everyone else. CERB ain’t gonna last forever. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? It’s the desire, there’s a desire to have it, there’s a desire to do it. Theatre has been around the longest. Before cave painting people were re-enacting stuff out. Maybe they were both born from some kind of performative acting/dance. Storytelling is the oldest form of entertainment, not the second oldest. (with a quiet laugh). There’s a DNA deep desire for it, to want it, and to see it. And for some of us ridiculous folks, to do it. ‘Cause who wants to stand in front of people and do it? It’s ridiculous and yet we do. 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: What is your favourite word? Dad. When I hear my boys call me, “Dad”, I love hearing them call me that all the time. I love being their dad. I get choked up even talking about it. What is your least favourite word? Ironically, it’s “Dad” because I didn’t have a great relationship with my father, so growing up that word was full of disdain for me. And “No” is also my least favourite knee-jerk word. So “Dad” and “No” are my two least favourite words. What turns you on? Time spent with loved ones. I’m loving this extra time spent with my wife and my kids. What turns you off? Prejudice and all that goes with it - negative vibes, racism, that sense of superiority that some people have over other people. What sound or noise do you love? Laughter, especially baby’s laughter. What sound or noise bothers you? Construction, it’s just nonstop right now. What’s your favourite curse word? What is your least favourite curse word? My favourite word because I can only use it sparingly is cunt. My mother’s British. There’s a lot of European people around my family so it doesn’t have the same connotation as it does over here. ‘Cunt’ has the most shock value. The least favourite curse word: Fag or faggot when it’s used as a putdown. Other than your own, what other career profession could you see yourself doing? I’d love to be a chef. I love cooking. What career choice could you not see yourself doing? I have the utmost respect for the military and police, but I couldn’t see myself doing it If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “They’re waiting for you. All your ancestors are there.” Twitter: @TheCraigLauzon Instagram: craiglauzon Previous Next

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

Back Dylan Trowbridge Looking Ahead Tim Leyes Joe Szekeres In the early stages of the pandemic in 2020, my discussions with most Canadian, American, and European artists led me to understand just how their professional lives have become forever changed and dramatically altered. In all honesty, I’m still wondering how this pivot back to the indoor live theatre will look for them and their colleagues as necessary worldwide social movements have spotlighted the need for change. I first came across Dylan Trowbridge’s name in the early stages of GhostLight. All of the co-founders of GhostLight wanted to create a space to keep the theatre community active, inspired and connected while the industry was shut down. During the last few days, theatre news from Broadway indicates the theatres in Manhattan will be open this fall. Still no word about the indoor Toronto and Ontario theatres. Yes, there are pockets of outdoor theatre and I for one am pleased to hear this news, yet still Canadians wait when we can all return indoors. You’ll see from Dylan’s responses he has tried his best to remain positive and to keep moving forward. From the University of Toronto website: “[he] is a Toronto-based actor, director and teacher who began his career at the Shaw Festival where he played the title role in Christopher Newton’s production of Peter Pan. Other Shaw Festival credits include leading roles in The Lord of the Flies, The Matchmaker, Widowers' Houses, The Coronation Voyage and Rutherford and Son. Dylan made his West End debut in 2009, playing Neil Kellerman in Dirty Dancing at London’s Aldwych Theatre. He also spent two seasons at the Stratford Festival, appearing in Mary Stuart, Measure for Measure, Titus Andronicus and The Grapes of Wrath. Additional theatre credits include: Tribes, Julius Caesar (Canadian Stage), Taking Care of Baby (Critics Pick Award for Best Supporting Actor), the English language premier of Wajdi Mouawad’s Tideline (Factory Theatre) and Tiny Dynamite (Theatre Smash). Dylan is a founding member of Theatrefront, with whom he co-wrote and performed in Return (The Sarajevo Project), earning a Dora nomination for best new play. Film and television credits include The Handmaid’s Tale, Anne with an E, V Wars, Impulse, American Hangman, Dark Matter, Private Eyes, Alias Grace, Orphan Black, Bomb Girls and Hemlock Grove. As a director, Dylan’s productions of The Harrowing of Brimstone McReedy and Space Opera Zero! for Toronto’s Eldritch Theatre have earned multiple Dora nominations, and one win. Other recent directing credits include Herringbone and The Yalta Game (Talk is Free Theatre) and Every Brilliant Thing starring Gavin Crawford (Festival Players). Dylan is the Artistic Associate of Theatrefront, the Associate Artistic Director of The Festival Players of Prince Edward County and the Co-Founder/Co-Creative director of GhostLight, Canada’s online platform for mentorship in the theatre (ghostlight.ca).” We conducted our conversation via email as Dylan is an extremely busy family man. Thank you for taking the time to add to the conversation, Dylan: The doors to Toronto indoor live theatre have been shut for over a year now with no possible date of re-opening soon. How have you and your immediate family been faring during this time? Thanks for asking this, Joe. While this has been a profoundly challenging time, I have tried my best to seek silver linings where I can. I’ve got two amazing kids, and I have spent a lot more time with them over the last year than I would otherwise have been able. When everything shut down last March, I took the opportunity to teach my youngest son how to read. We had a great time with it, and we never would have been able to do that under normal circumstances. We established some fun family traditions during the pandemic: Thursday night campouts in the living room (or on the balcony in the summer). Takeout and old episodes of ‘Survivor’ on Friday nights. Because there are four of us and a dog packed into a condo, I have been fortunate to avoid the massive challenges of isolation that so many people have had to deal with over the last year. We’ve tried to make it fun however we could. About indoor live theatre shut for over a year, there is a void for sure. More than anything I have missed the social interactions, the ridiculous jokes and meeting new people. I miss the event of theatre. The anticipation when the lights go dark. The thrill of audience and artists sharing a space. How have you been spending your time since the theatre industry has been locked up tight as a drum? I’ve tried to keep busy! A few days before all the theatres shut down, Graham Abbey and I had opened a production of ‘The Winter’s Tale’ at U of T. We’d had such an inspiring experience working with these students, and we were discussing the possibility of creating more training and mentorship opportunities in the near future. Then when March 13th hit, and, like everyone else, all our immediate theatre plans evaporated. Graham called me and we began a conversation about building an online platform for theatrical mentorship. We wanted to create a space that would keep the theatre community active, inspired, and connected while the industry was shut down. Through that conversation we laid the groundwork for what would become GhostLight (www.ghostlight.ca ) Alongside co-founders Stephen Barnard, E.B Smith and Adrianna Prosser, we spent the next several weeks developing this platform, recruiting mentors and creating our launch event Friday Night at the GhostLight (featuring Margaret Atwood, Adrienne Clarkson, Torquil Campbell, Colin Mochrie). In May we launched our first series of free classes lead by some of the great theatre artists in this country, and we continued to do so throughout 2020—offering 19 classes to over 300 students. Then, in September, Graham and I returned to U of T to teach Advanced Performance: Mainstage Drama. In that class we created two digital theatre pieces: an adaptation of A Midsummer Night’s Dream and Rosamund Small’s play ‘Tomorrow Love’. It was a great opportunity to explore the possibilities that exist when creating theatre online. I also shot a couple of Film and TV projects: ‘Marry Me this Christmas’ for the Bounce Network and ‘Titans’ for HBO Max. In April I directed a new play workshop for Alberta Theatre Projects (a company I have long admired), and a “First Day Read” for Talk is Free Theatre. I also work with Festival Players of Prince Edward County (https://www.festivalplayers.ca ) as associate AD. We are busy planning an exciting season of outdoor theatre, music, dance and comedy for July and August. The late Hal Prince described theatre as an escape for him. Has covid been an escape for me or would you describe this year long absence from theatre as something else? I think he must have meant that theatre is a great escape from ordinary life, and that I can understand and relate to. Theatre allows us to live in wonder and to transcend the ordinary This year-long absence from theatre has not been an escape for me though. It definitely has caused me to reflect and re-evaluate my life and my work in a healthy way. As actors and theatre artists, so much of our identity is wrapped up in our creative lives. This year forced me to cultivate an identity outside of those parameters. I have learned that while I love being an actor, I don’t need to base my sense of worth upon it. It’s also taught me to keep an open mind about what theatre is, and what it can be. The popular opinion (and I totally understand it) is that theatre is defined by live assembly in a physical space shared by actors and audience. But this year has taught me to challenge that. We are storytellers. When the traditional parameters of our story telling are taken away from us, how do we adapt? I have been profoundly moved by digital theatre. I have been wowed by digital visuals in online plays. I have laughed heartily. I have witnessed beautiful, genuine connection between actors over Zoom. I have witnessed student actors deepen their understanding of the craft in an online classroom. So, while it hasn’t been an escape, it has been enlightening, transformative and satisfying. 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? My understanding of this virus and the various vaccines is limited, so anything I say here is complete speculation. My instinct is that it will be at least a year before people are attending theatre in a way that resembles to what we are used to and accustomed. Once we get everyone vaccinated, it will take some time for audiences to gain the confidence to gather in large groups again. My hope is, in the meantime, theatre-makers will be inspired to get creative with their approach to alternative strategies. I started my career doing outdoor theatre in Montreal. There is a magic to it when it’s done well. And it can attract non-traditional audiences. I think we will also see companies getting innovative with hybrid models of theatre: a live performance in a real theatre with a tiny audience and live streamed to a greater audience in their homes. I’m curious about how this challenge can create new models of theatre. The advent of Zoom theatre has opened up performance possibilities that transcend geography. While I don’t expect we will return to ‘normal’ in 2021, I am confident that this obstacle will lead to innovative approaches that could transform the way we create and attend theatre. I think theatre historians will look back on 2020-2021 and expound on on its vital transitional moment in the way we create theatre. The most important thing in all this? All levels of government must prioritize supporting arts organizations. As things stand, there is no scenario that will allow us to generate the ticket revenue sufficient to meet our costs. If we want a thriving performing arts sector on the other side of this pandemic, it is vital that we keep companies afloat. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? What our industry has endured over the last 14 months will forever change the way we create theatre, and the way audiences experience it. The most important moment we have experienced as a result of Covid is the reckoning that took place, and continues to take place, at arts institutions across this country. The closure of theatres created an opportunity for theatre artists to shine a spotlight on the systemic inequity and racism that has been taking place in our theatres and cultural institutions. I believe that a positive, permanent transformation has begun to take place. I anticipate that we will continue to see healthy, innovative leadership models evolve because of this, and that will affect everything from programming, to process, to casting and hiring practices. With regards to how we will create theatre in a post-pandemic world, my hope is theatre artists will be inspired to devise work that celebrates what makes the medium unique: liveness, gathering, collaboration and imagination. Great theatre can be like a party or a concert. It should be an event. Unpredictable. Dangerous. Exhilarating. I expect that there will be a greater urgency to the work we do and a hunger in the audiences that experience it. Have you felt danger during this time of Covid and do you believe it will influence your work? In 2006 I created a play with actors from Bosnia called ‘Return: The Sarajevo Project’. These artists grew up during the war in Bosnia and experienced legitimate, tangible threats to their lives every single day for several years; it affected everything. Their work was raw, spontaneous, and unpredictable and I learned a great deal from being on stage with them. I have not experienced that kind of sustained and palpable danger. Covid has been frustrating, stressful, and inconvenient. It has posed a threat to my livelihood and my ability to pursue my dreams. But it would be inauthentic to suggest that I have a deeper understanding of danger that I will bring to my work as a result of this. The word I keep coming back to is “urgency.” I will create theatre with more urgency when this is over. I’ll make up for lost time. I’ll relish the opportunities to collaborate with great artists in a shared space in front of an audience. I’ll enjoy it more. I’ll play more. And I won’t take one second of it for granted. Has this time of Covid made you sensitive to our world and has it made an impact on your life in such a way that you will bring it back to the theatre? In 2019 I suffered a serious concussion while rehearsing a play. I was unable to act on stage for the entire year. Then I lost a very close friend to a tragic accident. And then Covid hit. These three events permanently altered the way I see the world. Life and health feel much more fragile now. Everything we experience is raw material for the work we do. I hope and expect that these challenging events will have a positive impact on my work as an actor and director. Once again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? Covid has intensified my desire to do three things that I have been unable to do: traveling, creating theatre and socializing. I want to meet new people and see new places. I think that our work requires us to feed our imaginations by seeking out a multitude of perspectives and pursuing new experiences. That’s what I plan to do as soon as I am able to do so. Follow Dylan on Instagram: @dylantrowbridgeyyz Previous Next

Back Irene Sankoff and David Hein Self-Isolated Artist --- Joe Szekeres When it is safe to return to the theatre, and we will (sorry to disagree, Dame Judi Dench), if you have not gone to see the extraordinary ‘Come from Away’, make it one of the shows you definitely must attend. I know I would like to see it again. Irene Sankoff and David Hein’s apres 9/11 story of hope, of kindness, and of generosity is one that resonates with me in an emerging post COVID world now more than ever. Amid the statistics and the confusion of this coronavirus time, I know there are stories out there of front-line workers who have instilled hope, shown kindness, and born generosity of spirit. I had the good fortune to see the show three times: twice in Toronto (and once with the Canadian cast) and the New York/ Broadway company. Many thanks to Irene and David who were extremely kind and generous to participate in this interview when they have so much going on in their lives right now. How have you and your family been keeping at this over three-month isolation, and now with a slow re-emergence? IRENE: We’ve remained healthy. Not sure how with so many people we know having been hit by this wretched virus, but so far, we’re okay. We’re grateful for what we have and try to stay aware of our privilege. And wear our masks when we’re out near others but mostly stay home. I really miss my life from The Before Time. It was all gone so quickly, y’know? DAVID: We had been living in New York but have driven back with our daughter and two cats and renting a place – and we’re only now sorting out where we’ll be going forward. We’ve been trying to keep an eye on our five CFA companies who are all out of work – not just the onstage team, but the box office, front of house, crew, etc. And we’ve been trying to do some good, donating, buying a 3D printer for makers to make face shields and delivering them. What has been the most challenging and difficult for you and your family during this time? What have you all been doing to keep yourselves busy? IRENE: In the early days it was fear over the outbreak at my Mom’s Long-Term Care Home. We spent a lot of time sourcing and delivering PPE as well as coming up with ways to keep the staff and residents’ spirits up, whether it was having food delivered or doing impromptu performance art outside the building. Now that the outbreak has resolved (knock on wood) I’m missing the community I had in NYC, as they drift away from that city and all over the map. I spend a lot of time texting or video chatting with them. So - keeping busy has not been a problem. Work has not slowed down (I know, I’m surprised too – and grateful). And then there’s the education and entertaining of our six-year-old. She is used to a lot of programming and stimulation, having lived the last three years in Manhattan. But she is LOVING being here – and running in and out of the house and hopping on and off her bike and making friends with kids across the street or over a fence while yelling “6 feet back!” DAVID: We’re surprisingly really busy. Between homeschooling our daughter and figuring out where we’ll live next, we’re doing interviews and as many benefits as we can, trying to raise some money or cheer on front line workers – many of whom are our friends. But we’re also doing work in film and television – and everyone in those fields seems to see us as writers at home with nothing to do – so there’s suddenly a lot to do! We’ve been working on the ‘Come From Away’ movie, a TV project, and a couple of other irons in the fire. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian and North American performing arts scene? DAVID: I don’t think there’s a way that it won’t – it’s been so challenging for every theatre company, performers, all our crew members – not being able to work. And at the same time, I hope that some writers out there – the ones without six-years-old to homeschool – are writing the next great Canadian musical. Or just recharging and being good to themselves, so that when it makes sense, they can write the next great Canadian musical! Zero pressure to be productive during this. But long term, I know that theatre will come back – our producers are determined that “Come From Away” will return – and its message of resiliency and coming together in response to a tragedy feels even more relevant now. IRENE: Yes. I definitely think COVID will have a lasting impact. You can’t come out of a moment like this unchanged, both metaphorically and practically speaking. I’m mercifully (for all involved) not on the business side of things - but when I speak to those who are, they are cautiously optimistic about the long term. They are constantly running through options and worst-case scenarios and running task forces, and I try not to bother them too much because I don’t know how they do it. 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 sage and wise words of parental advice to the new graduates from the theatre schools regarding this fraught time of confusion? IRENE: I’ve always been a big fan of having a Plan B. I always had more than one and lived them for a long time. It gave me income, insight into humanity, and knowledge that I then used in my artistic pursuits, as well as confidence that there were many things I could do to earn a living. So, I was never desperate and always had the ability to walk away if I wasn’t happy in a situation. It also gave me friends who weren’t in the arts who could advise on life matters and who could frankly afford to come and support our shows. So, this seems like a great time to go to your Plan B. What else can you do? I’m not saying to give up, not one bit, but you’re going to have to be creative about HOW you are going to keep going while there’s nothing to go to. What else can you do right now to keep yourself fed, and to keep yourself learning so you’re not burnt out by the time this is all over? (Also, I don’t think it will ever really be ‘over’. But I’d love to be wrong about that). Before COVID, it was predicted that people would have 7 different careers in their lifetimes. Not jobs, careers. As people in the arts, we shouldn’t think we’re exempt from that. David and I are each on our third, maybe fourth careers? And that’s before COVID. DAVID: I obviously, often think about Newfoundland and what a hard place it can be to live – the winters are awful – it’s literally a rock in the ocean, the fisheries failing – all of that. But the people there have responded by becoming some of the best people in the world – kind, generous to both neighbors and strangers, and brilliant musicians and storytellers. Each winter, they get stuck inside, and they’ve learned to overcome them by coming over to each other’s kitchen parties and telling stories and singing songs – and making sure their community survives together. So, I think there’s hope that we can learn from this moment and become better. And to the graduates – many of whom were born during 9/11 and are now graduating during this – you have an incredible, unique story to tell – and that story and this time will bond you together as a group. Find the people you love who you’ve studied with and make art that you love. That’s what we did. Worst case scenario: you’ll have enjoyed the process. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian and North American performing arts scene? DAVID: I think the pressure it’s putting on the system is exposing so many inequalities, which is painful, but acknowledging those issues and working together to find solutions is positive. We’re already seeing new theatre companies being founded to share unheard voices and we’re excited about the art that this moment in the Black Lives Matter movement will create – which as allies, we are trying to educate ourselves on and work to support. IRENE: COVID has shown so many cracks in the way things were all along it’s dizzying. But the positive side of that is we can look to ways to change during this pause. Inequalities in healthcare and education and access to technology are painfully more pronounced. That’s why performing arts schools all have students who look the way they do – not a ton of racial and/or socioeconomic diversity. And women are being squeezed out of professions again not just in theatre, but elsewhere as well, as men usually make more money so their jobs take priority, and child-rearing and domestic management still tend to fall to women somehow. I’ve had so many friends, in arts, science, business and even healthcare say something along the lines of “how did I become a 1950s housewife?!” Wait…I was supposed to stay positive. Oops. 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 theatre as we move forward from COVID 19? IRENE: I have no idea. If it is all going to be about streaming, I better learn how to use the TV. Although, I do have a kid. Isn’t that why people have kids? So, they can change the TV channel? They don’t even have to get off the couch anymore. Back in my day, you had to walk all the way over to the TV. DAVID: I don’t think anything will replace live theatre – that feeling of your heartbeat synchronizing with the audience members around you. But if theatergoers want to watch theatre right now on their computers, how can you blame them? And why would you discourage it? If you don’t want to watch it, don’t –there’s already theatres working out how to do live theatre with socially distanced seating, or in front of your house, or by phone or zoom – but I don’t have an issue with streamed theatre – the more theatre the merrier! What is it about the performing arts you still adore that will never be destroyed by COVID? DAVID: We stand at the back of the house at Come From Away and we watch the show, but we also watch the audience. I love hearing a thousand people laughing at once or hearing them all sigh together – or cry together and then pass Kleenexes down the row. There was that article about how everyone’s hearts start to sync in rhythm within a theatre. It’s such a gift to get to witness people coming together in a shared experience – which is really what our show is about – and I can’t wait till we can return. IRENE: I’m not sure I adore this, but somehow, from the very beginning and no matter where in the world we’ve been, David and I have always ended up writing cramped in the middle of the night on a closed toilet seat in a bathroom, one of us seated on the edge of the tub if there was one. There was no tub at the Broadway theatre, but everyone knew the bathroom in the stage manager’s office was where we worked. And lo and behold, we’re working in a cramped bathroom again right this minute. Apparently COVID can’t destroy that. But seriously, a line from ‘Carousel’ comes to mind that gives me hope. This isn’t quite it, but the sentiment is right: “As long as there is one person on Earth who remembers, it isn’t over yet.” 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: What is your favourite word? DAVID: When I was a kid it was “Hawaii” – I’d say it over and over again even though I’d grown up in Saskatchewan and had never been there. With ‘Come From Away’, when we had to travel to meet our Australian company, we stopped there and it became our daughter’s favorite place – primarily because of the stray cats, so it’s as good a word as any. I also love the word “kindness” both for its practice and that it implies a “kinship” or “similar kind” with another person – recognizing our similarities rather than our differences. IRENE: Roller Coaster. What is your least favourite word? DAVID: This is such an only child word to pick – and I hate saying it to our only child too, but “No.” IRENE: Sprain. What turns you on? DAVID: A good Canadian self-deprecating sense of humour. IRENE: Surprising people. What turns you off? DAVID: People not listening, or not learning. I’m guilty of it too, plenty of times, but it drives me crazy. Also, when computers don’t work. It makes me crazy. IRENE: Ableism. ‘Isms’ in general. What sound or noise do you love? DAVID: Irene and my daughter’s laughter when they literally can’t keep it inside and it just burbles out. It’s my favourite sound ever. I spend a lot of time being goofy mostly so I can hear them laugh. IRENE: Rain. What sound or noise bothers you? DAVID: Chalkboard fingernails and my daughter crying. Or our cat, Gambo, “wowing” for breakfast at 5am. IRENE: Ignorant people talking. What is your favourite curse word? DAVID: Fuck. I also love the Newfoundlander’s “lard tunderin’ jaysus” though I never feel like it’s mine to use. IRENE: Fuck. Other than your current profession now, what other professions would you have liked to do? DAVID: I always wanted to be an animator or draw comics. Through Come From Away, I got to draw a backup Spider-Man story and I can’t wait to do another one. IRENE: Teacher. Being surrounded by small children. Is. The. Best. What profession could you not see yourself doing? DAVID: Oh man, there’s so many. Prime Minister since I’m terrible at decision making. Deep sea diver because I’m claustrophobic. Is scorpion zookeeper a thing? I might rather die. I have a lot of respect for all of those, but I couldn’t do them. IRENE: Teacher. There is no profession more underrated, underpaid and under-respected. Post-COVID I’d add ‘essential worker’. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? DAVID: “Excellent, you and Irene came together. Glad you took your time.” IRENE: “You can dance the way you used to, and it won’t hurt a bit.” To learn more about any of the worldwide extraordinary companies of ‘Come from Away’, please visit www.comefromaway.com . Previous Next

Back Matt Baram and Naomi Snieckus It’s an interesting climate right now where you don’t have the same license as an actor/artist that you once did Racheal McCaig Joe Szekeres Matt Baram and Naomi Snieckus’s ‘The Script Tease Project’ opens September 16 and runs until September 22. What’s more essential for me for this profile/interview? I got an initial look into their lives as husband and wife, and I had fun talking to both through Zoom. They jokingly teased each other. At one point, Naomi had to leave briefly and said Matt speaks for her. Baram added: ‘And that makes me the better performer.” I love it when couples can tease each other like this. Their individual biographies reveal an extensive background in the medium of film, television, and theatre. Matt recently returned to the theatre and appeared in a co-production of Mirvish and Studio 180 of ‘Indecent.’ He loves the immediate connection with a live audience not present in film and is sometimes not there on television. Naomi likes the variety of involvement in the three mediums because different muscles are used. Matt added that the ongoing SAG strike in the U.S. has also been challenging here in Canada for artists involved in film and television. Out of necessity, this was an excellent time for the two of them to explore the theatre. But even before we discussed their upcoming show, I wanted to learn more about them as individuals. Matt obtained his Bachelor of Fine Arts training from the Conservatory Acting Program at the University of Alberta under the instructor of the late Tom Peacocke, one of the creators of the Acting Program at U of A. Peacocke became a mentor to many individuals, including Baram. He holds beautiful memories of Tom as he touched the lives of many students. Baram then started his comedy career preparation in Edmonton at Rapid Fire Theatre, which was just starting at the time. Calling Edmonton a great theatre town, Baram called that experience fruitful and successful. When he moved to Toronto, Baram was fortunate to get into Second City, where he performed in six mainstage shows. It was at Second City where he met Naomi, his future wife. Their sly wit came through when I misunderstood and thought they received training from Second City. They cleverly said they had already been potty trained when they came to Second City and that I was dealing with ‘raw talent’ during our conversation. And I also thought they are a delightful couple. Naomi attended Toronto Metropolitan University (formerly known as Ryerson). Before that time, she attended the University of Waterloo for two years. When she completed her training at TMU, she went to Vancouver. She jumped into the Second City touring company. Naomi still takes acting classes as she feels: “It’s part of my craft to keep my muscles limber. It’s important to me personally to continue to train.” Matt is always interested in trying new things and being innovative. He learns a lot from observing. When he and Naomi were in Los Angeles, he took a UCLA class on sitcom writing. He continued taking a stand-up class as a gift from his wife for the holidays last year and jokingly said: “I didn’t want to take it personally that I needed a comedy class. Standup is a completely different set of rules and ideas. It’s a tricky field because you’re on your own and collaborate with yourself and your demons with an audience that might not know whether to trust you.” They agree that professional artists should continue training in their craft because it keeps them connected as social animals. What about the art of comedy still intrigues the two of them as artists? First, after a pause, Matt thanked me for calling ‘comedy’ an art because not many people do. For him, it’s rewarding that he and Naomi can make people laugh. It makes them feel good when that happens. Naomi and Matt love to make each other laugh and thrive on it. Baram complimented his wife, saying she has a fantastic laugh, which makes her an easy laugh. In his words: “I lucked out.” For Naomi, performing with Matt is one of the most beautiful things she gets to do because she fell in love with him there. She considers herself blessed and fortunate she had the chance. It’s also challenging to work with her spouse. They’re both so passionate about what they do on stage as artists. They don’t always agree, but every single challenge is worth it to be on stage with Matt. For Matt, he gently ribbed his wife and said: “For me, I can take it or leave it.” They’re not afraid to bring up their personal life onstage because that’s how art is created. It’s a place of reality, vulnerability, and relatability. “And that’s not easy,” according to Matt. “Comedy is something you have to work at…the response is so aggressive that you can’t help but feed off it. That makes it collaborative.” As performers, the two of them are there to deal with the reality of the scene; hopefully, their unique perspective will mine the humour within the moment. Their listening and reacting to each other is of prime importance. It is this listening and reacting which makes for good actors. The art of improvisation is central to their upcoming ‘Script Tease’ production, and Naomi concurs with Matt. One person can’t tell the story. It’s collaborative with the stage scene partner and the audience. Matt and Naomi can feed that bit into the scene even further if the audience likes what the two do onstage during the improv. It’s remarkable, it’s magical, but it only happens at that moment in that night. It will be something different the next night. The two of them want upcoming audiences to come out and see ‘The Script Tease Project’ because they bring a theatrical form to their comedy. If people come to a comedy thinking theatre, they’re willing to experience it on a deeper level, and the laughs will be potentially richer. With the possible return of a new variant of the ‘c-word, how are they both feeling currently: “We’re very aware of all that and ready for it. Actors and artists are very resilient. We can pivot and find other ways of engaging people. We’ve also partnered with Stream Stage Live. They’re very adept at creating live performance videos, and we will stream the show. Stream Stage Live is very familiar with comedy streaming. They will have a multi-camera, High-definition film of what we will do. You can buy tickets in advance and watch in Real Time or ‘on demand’ up to thirty days post-performance – which will be $30 plus tax.” What was the genesis of ‘The Script Tease Project’? Matt and Naomi were doing ‘Impromptu Splendour’ for a long time. They were improvising plays in the style of famous playwrights like Tennessee Williams and Chekhov. The two of them were trying to find ways to get audiences excited about their shows, so they invited actors from the community to come and play with the two of them. As invited guests to watch, these actors had varying degrees of comfort in improvisation and with Matt and Naomi. What they did next intrigued me: “We decided to make the playwright the special guest. And so, we invited people like Judith Thompson, Brad Fraser, and Morris Panych. Any Canadian playwright we could think of, we invited them. All these Canadian playwrights said yes to attending.” Matt said asking playwrights to pen the first two pages of something they do not intend to finish didn't feel like a lot. Naomi and Matt don’t see these pages pre-performance until they open them cold and read them that night in front of an audience. The pressure is on them to finish the playwright’s work in collaboration. It’s a way in, a silly way in of creating spontaneous theatre. But Matt and Naomi like it. The audience is in a workshop, but there are production values. Matt and Naomi ask the playwright to give a concept of a simple set and costume pieces for the two of them. So, this night is theatrical, and that’s exactly what Matt and Naomi are going for. They want a feeling of being current in the improvisation. The audience is also asked a couple of questions, but once the lights go down, the audience no longer interacts with the actors. But sometimes, Matt and Naomi got themselves in some hot water over their improv after the two pages provided by the playwright. And how have they dealt with that? “It’s an interesting climate right now where you don’t have the same license as an actor/artist that you once did. Naomi and I are aware. We’re as woke as we’re able to be at this time in life. We are constantly learning and adapting. In this way, we’re there with the audience and will ride a line. That also becomes exciting.” Naomi adds that she and Matt have the power to comment about the audience. There have been times when the two of them have said something where the audience gasped or groaned. They can say that if something is offensive, the other person can comment on it. In this manner, the audience feels heard because they’re part of this performance in their reactions. Matt and Naomi are aware of the fourth wall in their performance format. But they both agree they are playing characters the playwright has created. As actors, they recognize that sometimes they have to cross a line to make a statement or comment. That’s why we go to the theatre and see life take place before us. What’s next for Matt and Naomi once ‘The Script Tease Project’ concludes its run? They’re off to Europe to teach some workshops and take some workshops. Yes, they continue their training, but they’re going overseas to teach and learn. How awesome is that? ‘The Script Tease Project’ presented by The National theatre of the World runs September 16-22 at Small World-Centre, Artscape Young Place, 180 Shaw Street, Toronto. For tickets, click The Script Tease Project Tickets, Multiple Dates | Eventbrite or visit www.baramandsnieckus.com for more information. Previous Next

Back Al James The Self-Isolated Artist IMDB photo by Jon DeLeon Joe Szekeres As a practicing Catholic, I’ve always liked the phrase ‘By the Grace of God’. I passionately believe it is through the Almighty’s grace that, sometimes through goodness and sometimes through surprises, our lives have been lovingly and carefully determined for us. Enter Al James and his family. Al, his wife Kathy, and their two children Frances and Henry, attend the same Catholic Church I do. The James’s have attended this Church longer than I was. When I started attending several years ago, I noticed there was one little guy who used to peer around his father when the priest entered from the back of the Church. With the biggest smile on his face, this little dude waved to the priest and reached out to touch him. The priest always called him by name and waved back to him. Other parishioners around me always smiled when they saw this selfless response. I recall asking a person next to me who the little guy was and found out his name was Henry. Several weeks go by. After church one day, the parish priest was talking to a gentleman and I was waved over. The priest said this man was looking to speak to someone from my school, but Father knew I had an interest in drama. This gentleman who was talking to the priest was Al James. The priest turned to me and said, “Joe, you have an interest in drama. I was looking for Mike, but you can answer Al’s question. Joe, this is Al. Al, this is Joe. Talk!” And the priest immediately left us alone. In a few seconds of stunned silence, because I don’t believe either of us expected it, I looked at Al. He looked back at me. We both let out a huge laugh. And a wonderful friendship started from that point. There are many things I respect about Al. His Catholic faith and immediate family are the most important elements in his life. He is a devoted Catholic who also takes his career as an actor very seriously. Over the years we have spoken about the industry and about our communal faith. 1. How have you, Kathy, Frannie and Henry been doing during this time? Actually, we’re managing quite well during this period. We are fortunate enough to be able to continue working and, for the most part, have not been too affected by this pandemic as far as daily routine is concerned. Obviously having the kids at home during the day has been a big adjustment, but we managed to make the transition in stride. 2. Were you involved in any industry projects when the pandemic struck? I wasn’t involved in any projects when it occurred. 3. Have there been any personal or professional challenges for all of you during this time? Personally, I’ve welcomed the time spent at home among my books and guitars and have been enjoying the time spent with the kids, but I’m aware that this has been a trying time for many. The most challenging part of this isolation period for me has been trying to take it one day at a time instead of trying to determine what the near future or distant future may hold in store. 4. What have you been doing to keep yourself busy during this time? I’m continuing to work on the creative projects I’ve begun and am also getting in more time for my daily prayer devotions, studies and reading. 5. What advice might you give to other performing artists who have been hit hard by this turn in world events? I’m not one to be giving out advice, but if I were to add anything to the attempts to help ease or comfort those during these difficult and challenging days, I’d invite my fellow artists to reach out to those who are worse off and stay in touch with them. I’ve been contacted numerous times from fellow colleagues asking how I’m doing and if my family and I are well. It’s brought me a lot of comfort to hear from them, and I’ve also reached out to others as well. 6. Do you see anything positive stemming from COVID-19? I believe lots of positive things can come from this if we allow them to come. As I mentioned earlier, the need to reach out to those whom I regularly wouldn’t think to contact has shown me that, in future, I don’t need a time of crisis as an excuse to connect or re-connect with others. 7. From your experience, do you see any changes in the Canadian performing arts scene on account of COVID-19? I don’t know how the industry will be affected, at least not in the long run. Whether any permanent changes will occur may depend on the duration of the general ‘lockdown’. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. Any advantages to doing this? Disadvantages? Are you doing or will you be doing any of this? I’ve had a couple of self tape auditions for voice over gigs and I assume this will continue and most likely increase over time. I think it’s a good idea to be prepared for more ‘at home’ auditions. 9. What is it about performing that you still love which hasn’t been affected by this pandemic? Live performance on stage is what I love more than any other format. The shared energy and dynamics of performing in front of a live audience has always been my favourite. I love how every performance is different. As a nod 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? Supernatural 2. What is your least favourite word? Spiritual 3. What turns you on? A hint of wit and sarcasm in a woman 4. What turns you off? A lousy sense of humour 5. What sound or noise do you love the most? Laughter 6. What sound or noise bothers you when you hear it? Pop Music 7. What is your favourite curse word? Motherfucker 8. Other than your current profession, what other profession would you have liked to try? Writer 9. What other profession could you not see yourself doing? Politician 10. When you arrive at the Pearly Gates, what do you think God will say to you? “Not yet” Previous Next

Back 'Michael Kohlhaas' presented by Gerhart Hauptmann Theatre Played at the BMO Studio Theatre, Saint John, New Brunswick Courtesy of Saint John Theatre Company Aaron Kropf After many delays, Germany’s Gerhart Hauptmann Theatre in Germany arrived in Saint John and presented their stunning production of Michael Kohlhaas. This show is based on the novella Michael Kohlhaas by Heinrich von Kleist. This is a bare bones production, breathing new life into an centuries old text. Loosely based on a true story of a horse trader who is done wrong by nobility in Saxony, the titular character does everything he can to right the wrong done. He wanted his horses returned to him in the same state they were left. Kohlhaas takes to the courts and seeks help from other nobles. When he fails in these attempts he raises a mob which commits murder and burns down cities. ‘Kohlhaas’ is one of those folk hero stories that many places have. The script pushes the boundaries of what is and is not acceptable in bringing about end goals. The story of Michael Kohlhaas has many of the same characteristics of these other stories. Ultimately it asks the question: “Has Kohlhaas gone too far?” Walking into the theatre the room is draped all in white. The stage is covered in a white canvas with large streaks of red, symbolizing the blood that has been shed. Centre stage is a black saddle, which passes between the company of seven. The stark look of the set and the theatre space are reflected back by the various characters in the story. Because this is a German company presenting the story, surtitles were displayed on three of the four sides of the theatre. The use of surtitles was an important decision and choice. It was easier to watch both what is going on stage and read the text regardless of where the action is taking place. The minimalist approach to this production is what really makes it shine! The company wearing black suits, white shirts, and grey and black suspenders which becomes a striking contrast visual look against the red and white covering the space. There are few defined roles as the company rotates and takes on different characters throughout the production. Nevertheless, since I relied on the surtitles and rotation of roles, there were a few moments I wasn’t clear who was who. It’s a quibble, but I want to acknowledge each member in the company were strong. When not part of the story they remained on the side of the stage and did not draw attention away. It’s difficult to be on stage for an hour and a half and keep up the energy required, but this company maintained their intense energy from beginning to end. It’s unfortunate that Michael Kohlhaas was here for such a short time. This is the type of theatre that many North Americans might not be familiar with, or have seen before. This is a third German production for me, one at the Stratford Festival, the second was a Shakespearean production that was part of an international Shakespeare festival that happened in South Korea. Each of these productions was similar in style, and intensity. It was really exciting to be thrust into a story presented in a unique way. I only wish more people in Saint John and across Canada would have had the opportunity to experience this show. Previous Next

Back Samantha Sutherland Looking Ahead Jeremy Mimnagh Joe Szekeres Samantha is an Indigenous contemporary dance artist, choreographer, and teacher based in Tkaronto. She is from the Ktunaxa Nation in British Columbia. Her ancestry is Ktunaxa and Scottish/British Settler. She completed the Arts Umbrella Dance Diploma Program in 2018, the pre-professional program. She has worked as a guest artist with Ballet BC and an associate artist with Red Sky Performance. Samantha explored what aspects of her Ktunaxa culture, history, and traditional knowledge can be pulled into her choreography. She has presented works at Matriarchs Uprising by O.Dela Arts, and the Paprika Festival. However, I have more to learn and appreciate about the art of dance and I’m appreciative of those artists who are taking the time to share with me and others what is it about the art of dance that continues to fascinate and intrigue them. Samantha laughed as I asked her to start with the big question – what about the world and study of dance still intrigues her as a performing artist? “Overall, it is a universal language. It doesn’t matter where you come from or where you’re at in your life. You can watch movement and watch a body move, and that will trigger some kind of reaction within us. It doesn’t matter what language we speak as dance is understandable. As an expression, [dance] reads as it’s a way to express the human experience using this human vessel we all have, and we all share that similarity.” From Samantha’s perspective, movement is an extremely satisfying experience for her. Dance and movement keep her happy and when she tends to dance her day gets a little happier personally. How is Samantha feeling about this gradual return to the performing arts even though Covid still envelopes us for the foreseeable future? She’s excited about the return and remarks how it appears that the city of Toronto seems to be excited about its return. Even though Covid is still present, Samantha says these last two years have given all of us an awareness of our own health in how to engage with people. Yet Samantha is not turning Pollyanna because artists are aware there are some fears, but if we follow regulations in what’s happening around us, then that’s all any of us can do going forward. There is a safe ambition as we return because we have to trust that those who aren’t feeling well don’t come around those who are feeling fine. Let’s embrace the changes that we’ve seen over the last two-plus years. The arts need to be experienced because if artists are afraid of getting back into the studio, then there is the possibility the work, the experience, and the artistic connection could die out. Samantha is most excited about presenting a premiere dance work kaqwiⱡȼi as part of the late-night dance series NIGHT SHIFT co-presented by Citadel + Compagnie and Fall for Dance North (FFDN). The piece she will present works in her native Ktunaxa language. Samantha has been learning her traditional Ktunaxa language over the past two years via Zoom. “Learning my language is something I need to do,” Samantha states, “but I wasn’t always sure how or when I was going to be able to do it, so I’m very happy I am learning the language now with my teacher, Alfred Joseph.” About a year and a half ago, Samantha recalls in one of her classes they were given the body parts vocabulary list, and this triggered an idea in her brain. As a dancer herself, Samantha says she thinks about the body parts and how could she translate Ktunaxa words to movement. She shared next what she would do. All of this language learning begins with the study of the body parts and then meshed into a solo dance piece built from a practice of translating words into movement. Samantha works with an audio recording of her grandmother, Sophie Pierre, and another Elder, Marie Nicholas, of them having a conversation in the traditional Ktunaxa language. Sutherland then translates the story and the full sentences of the ladies into movement, and this is what is being presented. Samantha also uses her own voice in speaking the traditional language and dances along with her own movement as well. What are some of the ways Sutherland approaches translation into her traditional language? She looks at the shape of the letters and then uses her body to form that shape. How many syllables does the word have? If three, then the movement would have three parts. If she had the word ‘river’ in front of her and she heard her grandmother say river, then Samantha uses her hands to show a free-flowing fluid movement of the river. Other vocabulary words she said with me during our conversation: ʔa·kⱡam - head (sounds like ahk-thlam) ʔa·kiy - hands (sounds like ah-kee) ʔa·kⱡik - feet (sounds like ahk-thlick) Samantha likes working with text because there are so many ways to approach a word either how it sounds or looks on paper, or whatever it means and then using movement to define the meaning. She describes the process as fun. She is excited that she gets the opportunity to continue to present it. Earlier this spring, she had made this production for the Paprika Festival and got presented at ‘Sharing the Stage’ at the National Ballet and she gets to continue it for Fall for Dance North and the Citadel. Within the five-year trajectory plan of where artists see themselves, Samantha hopes that she continues to collaborate with other Canadian artists and get to create whether solo or with others. She loves the Indigenous dance community not only here in Toronto but Canada abroad. As a new choreographer herself, Samantha hopes to meet and to create within the next five years. Sutherland hopes one day that her story presented by Citadel and FFDN can also be presented live in her home nation so that her relatives and other Ktunaxa folk can see her work. She is excited to share the work with her classmates and teacher and relatives. What’s next for Samantha Sutherland once this show is complete? She has a couple of other shows coming up in Toronto and the area for the fall. She teaches full-time as well so she’s excited to be getting back to seeing her kids. Mostly, however, Samantha will be performing her works at a few upcoming festivals. To learn more about Samantha Sutherland’s production visit www.ffdn.com or citadelcie.com. Previous Next

Back Where the Blood Mixes Soulpepper and Native Earth Performing Arts Dahlia Katz Dave Rabjohn A revival of ‘Where the Blood Mixes’ by Kevin Loring is now playing at Soulpepper Theatre in Toronto. Loring is N’laka’pamux and comes from Kumsheen otherwise known as Lytton B.C. recently in headlines due to devastating fires – this alone makes the play more contemporary. Although some of the writing is over-extended, the strength of this production comes from the agile acting, especially in the two main characters – Sheldon Elter as Floyd and Craig Lauzon as Mooch. They spar over a series of indigenous issues that focus mainly on the theme of home and origins. Samay Arcentales Cajas’ work is also noteworthy for her dynamic and creative video projections. Two lifelong best friends, Mooch and Floyd, live difficult lives due to a variety of factors including suicide (Floyd’s wife) and the ills of residential schools' history. They clown around in a seedy bar, drink heavily, rely on lottery tickets for any kind of hope and pretty much ignore their families. Skillful acting moves them from comedy to pain in a moment’s time. Mooch is most comic with all arms and hands as he exhorts. Almost a Laurel and Hardy routine, quickly and effectively changes into a darker Waiting for Godot sequence as the grief in their lives is exposed. Floyd has not seen his daughter, Christine, played by Tara Sky, for decades. The loss of the wife/mother and the interjection of government institutions has pulled the family apart, but Christine feels the need to revisit her roots and reconnect with her father. Floyd is anxious about their different lives and buries his anxiety in alcohol. Mooch’s parallel problems are exacerbated by his own drinking and his mistreatment of his girl June – played with passion by director Jani Lauzon. Christine’s entrance into these lives is rocky as Floyd rejects her need for connection. Various forms of reconciliation put a dent in the darkness, but it seems only temporary. Oliver Dennis plays an affable barkeep as he strives to temper the tumult in his customers’ lives. Much like the ever-present musician in the shadows (James Dallas Smith,) he serves as a Greek chorus, echoing and reacting to events. As mentioned, the work of Ms. Cajas is spectacular. Projections have become a theatre staple, but her work raises the bar. Highlights include soaring osprey and gorgeous natural beauty. Most creative are scenes of interaction between actors and projections – Floyd fighting to hold onto a sturgeon or running down the path of a railroad track. Ms. Cajas reveals how the beauty of the natural world tempers the greyness of the mortal world. Mr. Loring’s writing can be clever with humour and wit, but he has embraced a large tract of themes and issues that tend to overwhelm – suicide, alcohol abuse, difficult relationships, residential schools, criminal activity, abandonment, government and institutional intervention – a lengthy list to pack into ninety minutes. All topics of importance. Perhaps it’s an effort to jolt an audience into a necessary awareness, but highlighting just two or three of these themes may provide an opportunity to drill deeper and develop more depth of understanding and possible solutions. Some of the repetitive writing slowed the pace at times. Two brilliant moments offered some shimmer in the darkness of their lives. After going through an exhaustive reconciliation, Christine bursts out to her father without any preface – “would you like to see your grandson?” The audience shares his shocked and happy moment. The other instant is Floyd’s fear that Christine is reacting to poor bathing habits. No, she says, “you smell like home.” Perhaps the heart of the play. ‘Where the Blood Mixes’ by Kevin Loring Performers – Oliver Dennis, Sheldon Elter, Craig Lauzon, Jani Lauzon, Tara Sky, James Dallas Smith Director – Jani Lauzon Set design – Ken MacKenzie Video and projection design – Samay Arcentales Cajas Stage Manager – Cole Vincent Runs through June 16, 2022 Tickets – soulpepper.ca Previous Next

Back Glenn Sumi Looking Ahead --- Joe Szekeres I’ve read many of Glenn Sumi’s articles in Toronto’s NOW Magazine over the years. At the conclusion of his profile, he speaks about being balanced and fair in his commentaries on live theatre and film. Whether we are critics, reviewers, columnists or simply theatre and film goers, let us hope as we emerge from this Covid world in which we now find ourselves that we can also be ‘balanced and fair’ in how we view any work of art. Glenn is the Associate Entertainment Editor at NOW Magazine, where he’s written about film, theatre and comedy since the late 1990s. A member of the Toronto Film Critics Association and the Toronto Theatre Critics Association, he’s written about and discussed the arts for a variety of outlets, and for three years was a weekly pop culture commentator on CTV News Weekend. He misses live theatre and seeing movies in actual theatres. Being part of the recent Canadian Screen Awards feature jury – done on Zoom – was the most fun he’s had in 13 months. We conducted our conversation via email. Thank you so much for adding your voice to the discussion, Glenn: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Wow, what a place to begin. Bare minimum, this crisis has made me think about the enormous social and economic gaps in society. Most office workers have been able to work remotely from home, but that’s impossible if you’re a supermarket clerk or factory worker or security guard. It’s cracked open how badly run many of our institutions are. Did any of us know how long-term care homes were run until last year? Did we ever think that we’d get more useful and practical vaccine information from a pop-up Twitter account called Vaccine Hunters (@VaxHuntersCan) than from our government? Seeing anti-mask and “freedom” demonstrators has been utterly demoralizing and has made me think a lot about personal vs. collective freedom. Seeing how places like Taiwan, Australia and New Zealand have handled the virus – strict lockdowns (including limitation on how far you can travel), contact tracing, quarantining – has shown it’s possible to return to some normalcy if you follow the science and work together. On a personal level, I didn’t realize how important even casual day-to-day interactions were before this: working in an office, sitting in a café, sharing small talk. Your world is so much richer and more interesting when you’re exposed to other people and ideas on a regular basis. I live alone, and I haven’t hugged anyone in 14 months. I was never a big partygoer, but I miss being in small groups eating, drinking, and laughing, meeting friends of friends, that sort of thing. I miss big family gatherings, catching up with people in person and not via social media or email. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception of the live theatre industry been altered and changed? I guess I instinctively knew it before, but only after the pandemic did I fully grasp how many people are actually involved in the theatre industry: everyone from the box office clerks and ushers to the photographer who does the season brochure to the restaurant workers near the theatre. I’ve also been thinking about the economic realities of theatres – things like the minimum audience capacity needed in a theatre to break even. And it’s made me think about something that’s been troubling me for the 20+ years I’ve been writing about theatre regularly and interviewing its artists: how so many people in the industry come from privileged backgrounds and have families to fall back on in tough times. On a more positive note, some of Toronto’s more creative companies have found ways to keep the theatrical spirit alive, via phone plays, audio dramas and other creative substitutes. What are you missing the most about the live theatre industry? Live theatre? I miss everything. The artistry, of course. The energy communicated between the performers onstage and the audience. The 3D-ness of it all – watching a filmed play on a screen doesn’t come close to being at the play. (I was wondering why, in the single time I visited the Art Gallery of Ontario last summer, I was so drawn to the sculptures, and I think it was because I was so tired of looking at flat surfaces.) I even miss annoying things, like the crush at the box office and intermission refreshment stands, the fidgeting and talking. The live theatre industry? Harder to say. The excitement around opening nights, I suppose. Seasons that don’t have the word “virtual” in them. What is the one thing you will never take for granted again in the live theatre industry when you return to it? The importance of a group of people sitting together in the dark experiencing something together. Describe one element you hope has changed concerning the live theatre industry. I hope last summer’s Black Lives Matter protests and the recent anti-Asian racism incidents have made the industry seriously question who runs theatres, who sits on theatres’ boards of directors, and how that affects the art form. Explain what specifically you believe you must still accomplish within the industry. Encourage and support more talented BIPOC writers to consider arts journalism and criticism. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement as an audience member observing the theatre? It’s inevitable. I’ve already seen lots of COVID-related material on social media and in comedy – both sketch and stand-up. You have to address the elephant in the room. And some TV shows that have taped seasons after the pandemic began decided to set their show during the pandemic, showing proper health protocols, etc. I’m very curious to see how theatre artists respond. Back in December, the satiric Beaverton already predicted how painful this trend might be, with the headline: “Health Canada Warns of Inevitable Spring Wave of Terrible COVID-inspired Fringe play.” As with all things, it takes time for the full effect of an event to inspire original and lasting art. I think at first, audiences may be so exhausted and fatigued by the real thing that they may want to experience escapism. Personally, I’m looking forward to plays that don’t rely on traditional narrative. Like millions of others, I’ve watched a lot of film and TV over the past 14 months, and I want to engage with theatre that’s less story-based and more abstract and metaphor-based, stuff that doesn’t necessarily work well on Netflix. What specifically is it about your work that you want future readers to remember about you? People don’t have to agree with what I write, but I hope they feel I’ve been balanced and fair. To connect with Glenn Sumi on social media: Twitter: @glennsumi Instagram: @goaheadsumi Previous Next

Back 'Kelly v Kelly' Book by Sara Farb with Music & Lyrics by Britta Johnson Now onstage at Toronto's Berkeley Street Theatre Dahlia Katz. Centre: Eva Foote surrounded by members of the ensemble Joe Szekeres A unique musical theatre spin on a courtroom drama that stirred the nation in the early twentieth century. 'Kelly v. Kelly' takes place in 1915. It is based on a true story that caused a stir in the United States. Helen Kelly (Jessica Sherman) has her daughter Eugenia (Eva Foote), a 19-year-old socialite, arrested and taken to court for incorrigibility. Eugenia engages in a romantic relationship with Al Davis (Jeremy Walmsley), an older professional dancer whom she meets at a tango tea. These dancers, also known as tango pirates, frequented high-end cabarets of the time, teaching young socialite girls how to tango. These men charged the women for dancing with them, and some of the girls would have lost a great deal of money if the men discovered they had a lot of it. When Helen discovers what is going on, she demands her daughter end the affair with Al. When Eugenia refuses Helen takes her to court. The presiding Judge (Mike Jackson) oversees the case. Helen’s by-the-book lawyer (Joel Cumber) is out to embarrass and put Eugenia in her place. Lorenzo Savoini's set design is visually captivating with its two-level construction. The lower level, featuring chairs, gives the audience a courtroom experience, while the upper level offers a unique perspective of others watching the proceedings. On stage left, Jonathan Corka-Astorga's band adds to the performance, and two staircases on either side allow the ensemble to move up and down effortlessly. The actors' ascent to the second level adds grandeur to the story, creating an impression of depth and space. The shadowy lighting in the cabaret scenes, where Eugenia dances with Al, is particularly appealing, enhancing the cigarette-smoky and alcohol-smelling atmosphere of the secret establishment. Alex Amini's costume designs faithfully capture the essence of the early twentieth century. Joel Cumber's tailored coat and slacks radiate a strong sense of privilege, embodying his character as Helen's lawyer. The ladies' dresses feature chic fabrics and colours, while the men's clothing of the rest of the ensemble exudes a fashionable and polished look. Sara Farb's engaging book arouses curiosity about Helen and Eugenia's actions and motives. Some moments, however, need to be fleshed out. For example, there are brief introductions to two influential individuals in Helen’s life – her husband and mother. I would have liked to see further development in how they strongly influenced the mother and daughter’s present situation ending up in the courtroom. There are some strongly intense dramatic musical moments in Britta Johnson’s songs: ‘Helen Calls Detective Welsh’ introduces just how it is possible the New York Police Department employed shady men. ‘You Scare Me’ is especially poignant as I could see Eva Foote wipe a tear from her eye. ‘Love and Money’ is also visually striking as it offers some strong underlying reasons why men behaved the way they did as tango pirates. However, several of the key company musical numbers suffer from a sound imbalance with the band, which makes it difficult to hear the lyrics. Unfortunately, I couldn't catch anything in the closing number, 'The Final Word,' and I fear that I may have missed out on some essential plot information. I hope this issue will be addressed promptly, as it detracts from the overall experience of the show. Director Tracey Flye powerfully depicts the unyielding fortitude of women in the early 20th century through her artistic vision. Helen and Eugenia, despite their disparate upbringings, exhibit unwavering conviction and belief in what they feel and think. The male characters' contrasting personalities serve to emphasize the dominant nature of the female leads. Joel Cumber's fastidious demeanour as Helen's lawyer provides clever comedic moments while emphasizing how white privileged men view the role of women at the turn of the century. The show’s pacing never feels rushed thanks to a solid ensemble of actors who keep it moving along briskly. Jessica Sherman and Eva Foote remain convincingly believable as mother and daughter throughout. Sherman’s distress is palpable as a distraught mother who never veers into hysterics over her daughter's behaviour. Foote’s entrance at the top of the show reminds me of an Eva Peron type who confidently uses her fame to get noticed. Jeremy Walmsley is a dashing Al Davis who credibly sweeps Eugenia off her feet. Tracey Flye’s choreography of the sultry tangos between Walmsley and Foote reveals a bubbling relationship of passion and romance. While not as prim and persnickety as Joel Cumber’s Lawyer, Mike Jackson and Peter Fernandes solidly reflect in their performances the white male patriarchal society that women hold a specific place and should never deviate from it. The story is propelled forward by a devoted ensemble who embody significant individuals. Among them are Helen's friends who sneaked her out of her house and took her to the cabaret for the first time. Additionally, there are the reporters present during the courtroom proceedings, eager to find any sensational tidbit to sell their newspapers. Notably, Flye’s fine choreographed movements of the ensemble in some of the musical numbers are another highlight of the show. Final Comments: ‘Kelly v. Kelly’ is a musical in development. There is a programme notation under the Musical Numbers that the songs listed are subject to change. At this point, I am enjoying what I am seeing (although I understand that my perception of the show may change if presented again in the future). For one, the show’s messages are most timely. ‘Kelly v. Kelly’ focuses on what it means to be a woman in a time of societal change in the early twentieth century. Sounds rather ironically familiar, doesn’t it, from a woke twenty-first-century perspective? On Canadian Stage’s website, the Toronto Star bills Britta Johnson as Canada’s musical theatre’s next great hope. I certainly look forward to seeing what she has in store next. In the meanwhile, go see ‘Kelly v. Kelly’ and the birth of a new musical. Running time: approximately 90 minutes with no intermission. ‘Kelly v. Kelly’ runs until June 18 at Berkeley Street Theatre, 26 Berkeley Street. For tickets, visit canadianstage.com or call 1-416-368-3110. To learn more about Canadian Stage: www.canadianstage.com . To learn more about The Musical Stage Company: www.musicalstagecompany.com . THE MUSICAL STAGE COMPANY in association with CANADIAN STAGE presents the World Premiere of KELLY V. KELLY Book by Sara Farb with Music and Lyrics by Britta Johnson Director and Choreographer: Tracey Flye Music Supervisor, Orchestrator & Arranger: Lynne Shankel Music Director: Jonathan Corkal-Astorga Set and Lighting Designer: Lorenzo Savoini Costume Designer: Alex Amini Sound Designer: Brian Kenney Stage Manager: Lisa Humber The Band: Jonathan Corkal-Astorga, Sasha Boychouk, Jessica Deutsch, Anna Atkinson, Erik Larson The Performers: Dave Ball, Joel Cumber, Peter Fernandes, Eva Foote, Mike Jackson, Julia McLellan, Jessica Sherman, Margaret Thompson, Kelsey Verzotti, Jeremy Walmsley Previous Next

Back 'Sea Wall' by Simon Stephens Presented by BRIGHT YOUNG THINGS AND QUIET THINGS CREATIVE IN ASSOCIATION WITH ONE FOUR ONE COLLECTIVE, and now onstage at Toronto's Assembly Theatre, 1479 Queen Street West Cass Van Wyck. Pictured: Jamie Cavanagh as Alex Joe Szekeres Jamie Cavanagh’s naturalistic storytelling makes ‘Sea Wall’ an engrossing piece of theatre. Now onstage at the Assembly Theatre, Simon Stephens’ ‘Sea Wall’ becomes an engrossing piece of theatre that left me bereft of emotion for a few moments at the end of the show. Belinda Cornish directs the one-act monologue with confident precision to ensure a naturalism that remains intact throughout the approximately 45-minute running time. Jamie Cavanagh is Alex, a photographer. He enters from the back of the auditorium at the top of the show and walks down the aisle to the stage. He looks at some of the props placed there. Even though he says nothing for a few minutes, something magnetic about Cavanagh’s presence draws attention to him. Alex is an inquisitive man. The question of Christian religion and faith belief figures prominently in the early sections of the monologue. Alex is uncertain of the presence of a religious figurehead but enjoys thinking about the topic and discussing it with others. He likes swimming and the opportunity to be at peace in the water. Alex wonders if a religious figurehead exists; he considers perhaps he might have experienced a connection while swimming. As his monologue continues, we learn Alex is deeply in love with his wife, Helen, and the two of them are overjoyed at the birth of their daughter, Lucy. We also learn Helen’s father, a retired British general, lives in the south of France by the water. Life is good for Alex, Helen, and Lucy. When she is eight, Alex and Helen take their daughter to the French seaside for a holiday at the request of Helen’s father. Alex likes his father-in-law and enjoys learning more about him while spending quality time with Helen and Lucy. While on holiday, Alex has a most interesting conversation with his father-in-law about a seawall near his home. Alex learns that this seawall is a mighty thing. According to his father-in-law, it doesn’t just drop a few meters but hundreds of feet. There is an incredible suffocating blackness at this seawall. This seawall becomes a metaphor for how things can change so quickly in life. The auditorium’s house lights do not dim for the 45-minute running time, which is an integral part of the staging. It’s a good choice because ‘Alex’ can make direct eye contact with each audience member. I noticed he had made eye contact with me a few times. At one point, Cavanagh (as Alex) asks a question and looks directly at an audience member sitting in front. She nodded in response that she wanted to know the answer to his question. (I won’t state the question because that’s part of why you must see the show.) Jamie Cavanagh’s nuanced and realistic performance is the highlight of the production. His thick British accent makes me pay careful attention. It all feels believable as he moves around the stage with purpose, reason, and intent. It’s as if he speaks directly to me, and I forget the other audience members sitting around. Cavanagh instinctively knows when to pause for a quick laugh from the audience or when something needs to be highlighted. During these carefully timed dramatic pauses, I am inching forward in my chair because I’m on every word. I don’t want to write any notes in my book about the production because I don’t want to miss anything. ‘Sea Wall’ is a theatrical treat you owe yourselves. Please go and see it. Running time: approximately 50 minutes with no intermission. ‘Sea Wall’ runs until Sunday, October 8, at the Assembly Theatre, 1479 Queen Street West, Toronto. For tickets, visit www.assemblytheatre.com . BRIGHT YOUNG THINGS AND QUIET THINGS CREATIVE PRESENT IN ASSOCIATION WITH ONE FOUR ONE COLLECTIVE ‘Sea Wall’ by Simon Stephens Directed by Belinda Cornish Performer: Jamie Cavanagh Previous Next BACK TO TOP

Back Jeannette Lajeunesse Zingg and Marshall Pynkoski A 'life-changing' experience for these ultra-chic Co-Artistic Directors of Opera Atelier Photo of Jeannette Lajeunesse Zingg and Marshall Pynkoski courtesy of Opera Atelier website Joe Szekeres To have the opportunity to speak again with Co-Artistic Directors of Opera Atelier, Marshall Pynkoski and Jeannette Lajeunesse Zingg, was personally and highly energizing. I hold no background in opera or dance, yet these two art forms have intrigued me since I began reviewing. I'm grateful Marshall and Jeannette, two classy individuals, continue to reach out to me to attend Opera Atelier performances and encourage more audience members to become intrigued by opera and dance and their theatrical form. Pynkoski stated if audiences aren’t entertained, then the company must re-examine what they are doing since entertainment is the goal for all audience members and not just a select few. I spoke with Marshall and Jeannette a couple of weeks before Christmas as they were quite excited to share some very important news about their ‘life-changing’ experience in Versailles, France. In April 2022, when they were directing and choreographing a new production of Grétry’s 'La Caravane du Caire' for Opéra de Tours, Marshall and Jeannette received an email from Laurent Brunner, Directeur of the Opéra Royal and of Château de Versailles Spectacles, asking if they were familiar with Marc Antoine Charpentier’s opera, ‘David et Jonathas’. Marshall and Jeannette have listened to Charpentier’s opera for over a decade and have always marvelled at the invention and power of this example of the seventeenth-century biblical drama. I smiled when Marshall said there must be some plans afoot with this simple request, especially with the proliferation of work he and Jeannette have accomplished with Opera Atelier. What they might consider simple became uber mega wonderful for me in hearing what had happened. Château de Versailles Spectacles had already planned and scheduled a major concert performance and CD recording of Charpentier’s ‘David et Jonathas’. However, due to the appearance of a very significant donor, the project had suddenly been catapulted into a fully staged production. The set was to be designed by the great French designer Antoine Fontaine and his son Roland, with lighting by the equally celebrated Hervé Gary. Perhaps most exciting of all, the costumes were to be designed by the greatest living French couturier, Christian Lacroix. Additional donors came on board through the organization known as ADOR (Les Amis de l’Opéra Royal). A DVD deal was signed, and the set design grew in size and complexity as the project expanded to include eight dancers (including two of the Artists of Atelier Ballet), nine on-stage chorus, eight superb principals, including the internationally renowned tenor Reinoud Van Mechelen as David, soprano Caroline Arnaud as Jonathas, and bass-baritone David Witczak as Saül. They were joined by a forty-piece orchestra on period instruments (Ensemble Marguerite Louise) and a large off-stage choir under the baton of the young superstar French conductor Gaétan Jarry. What’s more, this was the first time in its history that the Royal Chapel (still a consecrated space) was used as a theatre. Marshall and Jeannette accepted this “enormous undertaking in a very, very short time but such an exciting project that it was out of the question that anyone would say no.” Jeannette stated they had about twelve days to put together a two-hour opera. Normally there is a much longer rehearsal time (at minimum a four-week rehearsal), but over the years the two of them and Opera Atelier have learned to streamline the process with nine hours a day of non-stop rehearsal with short meal breaks. Everyone barely slept over this time. I could hear a bit of nervous laughter in her voice as she recalled wondering if it would all come together. It did as Jeannette added: “It was a wonderful success. It was an over-sold-out house. Everyone performed beautifully, and the production was well received both by the public and the press. There was highly informed press from the United States, England, France, and Germany. People also flew in from Israel to see the production.” Marshall also shared no one stopped working. Microphones could not be set until after 11 pm because there was so much natural light that came into the chapel because of the window. The creative team had to wait until it was night and then wait for the ambient light from the Chateau to be turned off and the rehearsals to finish. And the piece de resistance for Marshall and Jeannette? At the After Party in the Salon of Hercules, they received confirmation ‘David et Jonathas’ will now travel to Potsdam in addition to future performances in the Royal Chapel on a regular basis. There is the release of the CD and DVD of the production in 2023. I sit here as I finish this article and am astonished at Opera Atelier’s tremendous worldwide influence gently steered and guided by Pynkoski and Lajeunesse Zingg. I continue to marvel at Opera Atelier performances and look forward to seeing what they have planned. And so should all of you. To learn more about Opera Atelier, visit www.operaatelier.com . Previous Next

Back Hannah Moscovitch The Self Isolated Artist Alejandro Santiago Joe Szekeres I have either read or heard of Hannah’s name over the years in the entertainment section of the newspaper (is there such a section anymore?) or in discussion with others who have a keen interest in Canadian theatre. When I sat on play reading committees for various amateur theatre groups years ago, I can’t recall if I had read anything by Hannah or not. After reviewing two extraordinarily fine productions of her plays ‘Sexual Misconduct of the Middle Classes ‘and ‘Old Stock: A Refugee Love Story’ at Toronto’s Tarragon Theatre, I certainly want to keep aware of Hannah’s upcoming works. I found both productions exceptionally theatrical while crossing boundaries of all sorts with a fine mixture of psychological drama added to pepper character development. While a prolific and exceptional playwright, Hannah is also a TV writer (‘X Company’ which I did watch on CBC) and librettist. Regretfully I bow my head as I did not have the chance to see ‘The Secret Life of a Mother’ or ‘Bunny’ where I heard artist Maev Beaty’s stunning work was captured exquisitely. I hope and trust there is an opportunity to see both works in the future once we’re all allowed back in the theatre. Hannah and I conducted our interview via email: 1. It has been nearing three months now that we have been under this lockdown. How have you been doing during this period of isolation and quarantine. How has your immediate family been doing? We are good. None of us are sick. We have money. We live in Nova Scotia where there are a small number of people – it’s easy to stay isolated here. My work is solitary for long stretches so I am used to being alone. 2. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I’ve had, I think, seven shows cancelled or postponed so far. New productions of ‘Sexual Misconduct of the Middle Classes’ in Edmonton and Melbourne Australia and international tours of ‘Old Stock: A Refugee Love Story’. A couple of workshops of new projects have been pushed back – ‘Post-Democracy at PTE’ and ‘Ten Days in a Madhouse’ at Opera Philadelphia. More will be cancelled or postponed soon, I think. But there’s a worldwide pandemic so, uh, that seems like the right choice. 3. What has been the most difficult and/or challenging element of this period of isolation for you? I have half the work time because my son is home. He’s only four. There are still big expectations on me to meet deadlines, as though I don’t have a kid at home, so that’s been harder, I feel crushed by work. On the bright side, I have work. 4. What have you been doing to keep yourself busy during this time of lockdown? I think this question applies to people without children. I am busy all the time. There is not a minute I’m awake that I am not working flat out or with my son. It feels relentless at times, in fact. It’s complicated because I love my son and my life, but it’s hard not to let the work pressure colour what is actually beautiful time with my son. Anyway, I am not lonely or bored or in need of distracting activity. 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? Jeez. Pandemic circumstances are new, so I can’t draw on any experience or theories of mine to offer advice or consolation. 6. Do you see anything positive stemming from this pandemic? I hope that empiricism and science and rigorous truth-making systems will be re-established, and that the right wing won’t so breezily make up facts like “coronavirus is a hoax”. 7. In your estimation and informed opinion, will the Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? I think it already has. There are theatre companies that are going bankrupt. There are artists who won’t be able to hold out, financially, and will opt out of this industry, taking their talents with them. There are established artists who are turning to other mediums – publishing for instance – to get through. Artistic Directors speak regretfully about how new works will be stalled. Listen, there may be good outcomes too – we aren’t at that moment yet. 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 gave a 20-minute talk on this recently for Canadian Stage. The short version is I think it makes sense to maintain audience bases via archivals. I’m interested in live online work, and I have no doubt iterations of it will blow my mind. I do also think theatre people going online live could consult with people in the TV industry who are more familiar with the medium and get good help. 9. What is it about the performing arts scene you still love given all the change, the confusion and the drama surrounding the theatre community from Covid 19? I love that it’s a supportive community, and that everyone is managing to be kind in a difficult situation. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Love. b. What is your least favourite word? Words used to demean people. c. What turns you on? I’ve given long and short ones below, Joe. (Note: I had no issue with this, especially when you read Hannah’s answer to question d.) Short Answer: Right now I’m into the TV show Normal People. Long Answer: Right now I’m into the TV show Normal People, and I have been listening to Connie Walker’s podcast which is so extraordinarily good – Missing and Murdered: Finding Cleo and Who Killed Alberta Willians, and I just read “My Year of Rest and Relaxation” by Ottessa Mohsfegh which I loved. d. What turns you off? Short Answer: Right now? The murder of George Floyd by Minnesota police officers. Long Answer: I’m turned off by reconciliation in Canada without justice or a reckoning for Indigenous communities. I’m Jewish, and we don’t believe in forgiveness without justice – that’s a Christian concept. I’m turned off by the failure in Canada to take responsibility for the genocides and atrocities of the past and the present on a systemic level. I love Canada, and so I’d like Canada to be better, I’d like our country not to just pay lip service to taking responsibility. I want us to actually reckon with our fucked up prisons, fucked up child welfare systems, fucked up police forces where racism is entrenched, fucked up drinking water, fucked up governments responses and our overt and insidious racism towards Indigenous people. I feel strongly about it because I come from a people against whom atrocities and genocides have been committed. I can’t distance myself from it. And listen I want to say I didn’t know very much about what was going on with Indigenous communities until the last few years – and it took me a while to really get the full scope of the horror, and to wrestle with my own false ideas about Canada, so. e. What sound or noise do you love? The wind. In particular on Northern Atlantic beaches. f. What sound or noise bothers you? It distresses me, on a physical level, when babies cry. Even though my son is four now when I hear that sound I get ready to run towards it. g. What is your favourite curse word? Fuck. h. What profession, other than your own, would you have liked to attempt? War journalism. i. What profession would you not like to do? Vermin control. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? I guess if I think about God as being my mother and father, and my sister, and my husband and my son, combined, I can say I’d like them to say to me: “Hannah, I love you and you’re a good person. You have made my life good. You’ve done your part. It’s going to be okay.” Previous Next

Back Ravi Jain Canadian Chat David Leclerc Joe Szekeres There are some artists with whom I’ve wanted to converse during the pandemic and events did not allow us to chat. Ravi Jain is one of them. We’ve been playing email tag throughout the pandemic. He and his wife are parents of an adorable little guy, so I understood completely family responsibilities must come first. Ravi is the Co-artistic Director and founder of Toronto’s Why Not Theatre. From his bio on Why Not’s website: “Ravi is a multi-award-winning artist known for making politically bold and accessible theatrical experiences in both small indie productions and large theatres. As the founding artistic director of Why Not Theatre, Ravi has established himself as an artistic leader for his inventive productions, international producing/collaborations and innovative producing models which are aimed to better support emerging artists to make money from their art.” Ravi was twice shortlisted for the 2016 and 2019 Siminovitch Prize and won the 2012 Pauline McGibbon Award for Emerging Director and the 2016 Canada Council John Hirsch Prize for direction. He is a graduate of the two-year program at École Jacques Lecoq. He was selected to be on the roster of clowns for Cirque du Soleil. Currently, Sea Sick which he co-directed will be on at the National Theatre in London, his adaptation of The Indian epic Mahabarata will premier at the Shaw Festival, and What You Won’t Do For Love, starring David Suzuki will premier in Vancouver in 2021. I saw his production of ‘R &J’ this summer at Ontario’s Stratford Festival, and as a retired teacher of English Language and Literature I hope teachers will take advantage of showing the production to their classes when teaching ‘Romeo & Juliet’. We conducted our conversation via Zoom this morning. Ravi was on a walk with his little guy while we chatted so I got a chance to see his beautiful little boy. Thank you so much for your time, Ravi: Since we’ve just celebrated Thanksgiving, tell me about one teacher and one mentor in your life for whom you are thankful and who brought you to this point in your life as an artist. Oh, well, a teacher for sure is Jim Calder who was a Graduate Movement professor at NYU. I took his course in Italy and we became quite close. He actually went to Lecoq School with Dean Gilmour and Michele Smith. Jim was an amazing teacher – brilliant philosophically, brilliant practically – and just inspired me to go that one step further; that for my imagination there was always that one step further to go a little bit further, a little bit farther. I always think of Jim when I’m in a problem trying to go a little bit further. He always inspired me to do that. A mentor, for sure, is Franco Boni, who was the Artistic Director of The Theatre Centre. He always empowered me to follow my voice and to be fearless and to not be afraid of saying ‘the thing’ or doing ‘the thing’ and taking the risk. I’m trying to think positively that we have, fingers crossed, moved forward in our dealing with Covid. How have you been able to move forward from these last eighteen months on a personal level? You know, I don’t think I have. Well, first of all, I’ve had a baby with my wife so that has been a life changing event to have this new person to take care of, to laugh with, and not to sleep with. (and we share a quick laugh) That, I feel, very different, older, more mature, and more responsible, for sure. But in terms of coming out of Covid? I don’t feel we’re out of it. I feel like some people want desperately to be out of it and other people are still feeling the impact of it, especially with all of these conversations we’ve had about inequities. Those didn’t go away. On a personal level, I still feel like we’re in Covid still and there are still a lot of unresolved things that I don’t yet know how to reconcile. As an artist, how have these last eighteen months changed or transformed you as a professional artist? It’s been great to be quiet for a little bit, and to just be reflective and to think about what role art can play to help people, especially in a time when so much help is needed. It’s given me a time to think about what it is I really want to do and why. It’s been a time of reflection which is good as an artist for me. It’s a time to go deeper and ask WHY. Why am I doing this? In your professional opinion, do you see the global landscape of the Canadian professional live theatre scene changing as a result of these last eighteen months? In some ways, Yes, but in a lot of ways, No. In some ways yes because I think people are talking about inequities and there are some changes, but on the whole there’s not a lot of change. I don’t see a lot of change. One has to always stay hopeful, but I don’t see it so I’m not sure about it. It’s a tricky one because I want to stay hopeful because I’ve been in some pretty dark places these last 18 months. What excites/intrigues/fascinates/interests Ravi Jain post Covid? I’m really excited about what is this all going to be (and Ravi and I share another quick laugh) What is travel in a world of a climate emergency? What is gathering in a world of Covid? I’m still very curious to see how this is all going to play out, and all these conversations about inequities and racial injustice. What is it all going to be? I still have yet to see it manifest, and it could be really exciting or it could not change. I’m staying on the exciting side in hopefully seeing what the other side will be. What disappoints/unnerves/upsets Ravi Jain post Covid? Mean shit. This idea that we’re back, the desperate desire to be back. And I suffer from it as well. I equally have it inside me, and I have to check myself because we’re not. I know we all want to do this but we gotta do it right. That was the real challenge I had this summer (in directing R&J at the Stratford Festival). We were in rehearsal and making a show. It was a strange experience because on one hand we were making a show, and it was great to be working with the artists and making change, and to take the opportunity to do something, AND at the same time know that two thirds of the industry wasn’t working. It’s hard. What’s unnerving to me is that some people will be back and some won’t. What are we going to be doing about that? Where does Ravi Jain, the artist, see himself going next? Oh, man. I’m still searching for exciting stories and exciting ways to tell them. I don’t know if I’ve ever chosen the direction I’ve ever gone. It always appeared and chose me, so I’m really waiting. I’ve been playing with larger scale work. It’s been really exciting as it brings with it a whole bunch of challenges. Maybe I’m itching to do something small? I don’t know. I’m very open and maybe, for the first time in my life, I’m really patient. Where does Ravi Jain, the person, see himself going next? Obviously, with a baby, our lives have changed which has been great. I’m someone who’s always been somewhere else whether I’m travelling or responsible to a rehearsal hall at night, and it’s been really great to have this time with my family and to make time for my family. I’ve lost so much of my family time to the arts just with late nights and weekends, and all the demands the arts takes from you. I’ve really lost a good amount of family time over my lifetime. To have this time is an important place for me to continue to grow. RAPID ROUND Try to answer these questions in a single sentence. If you need more than one sentence, that’s not a problem. I give credit to the late James Lipton and The Actors’ Studio for this idea: If you could say one thing to one of your teachers and/or mentors who encouraged you to get to this point in your life as an artist, what would it be? Thank you for believing in me. If you could say something to any of the naysayers who didn’t think you would make it as an artist, what would it be? I told you so. What is your favourite swear word? It has to be Fuck. What is a word you love to hear yourself say? Ah…. Again. What is a word you don’t like to hear yourself say? Disappointed. What would you tell your younger PERSONAL self with the knowledge and wisdom life experience has given you now? Work isn’t everything. With the professional life experience you’ve gained over the years, what would you now tell the upcoming Ravi Jain from years ago when he was just in the throes of beginning his career as a performing artist? It’s a total contradiction to the other one. Work is everything. Just don’t stop moving and don’t let anyone say no. Just keep going. What is the one thing you still want to accomplish professionally and personally? Personally and professionally, I think I would love to run a larger civic organization. It’s about a responsibility and a larger impacting conversation with the city. Name one moment in your professional career as an artist that you wish you could re-visit for a short while. Oh, man, my 30s. (and Ravi has a good laugh over that) What will Ravi Jain never take for granted again post Covid? The impact of blind decisions on other people. Would Ravi Jain do it all again if given the same opportunities? Oh, yeah, 100%. Joe, did anyone ever say No to that question? Previous Next

Back 'Sweeter' by Alicia Richardson Now onstage to December 17 at the Aki Studio, 585 Dundas Street East Credit: Foreshots Photography. Pictured: Daren Herbert as Ralph and Alicia Plummer as Sweet Pea Zoe Marin, Contributor “With the ongoing discourse about whether or not kids should learn about race in schools, ‘Sweeter’ proves that it’s not only necessary, but also doesn’t have to be difficult.” ‘Sweeter’ takes place in American South in 1887, only two decades after the abolition of slavery. Ralph (Daren Herbert) widowed and newly emancipated, seeks a better life for him and his daughter, Sweet Pea (Alicia Plummer). This brings him to Mr. Zucker’s (Sébastien Heins) small farm in Eatonville, Florida, where he is currently unable to afford the small patch of land Zucker offers him. Eager to have something of his own, Ralph agrees to “lease” the land and work for Zucker until he’s able to buy it. Here. Ralph begins to tend to a withered mango tree that he promises will prosper with the right care. As it turns out, “Mango Tree” (Emerjade Simms) can talk, leading to a close bond with Sweet Pea and making an enemy out of Zucker. ‘Sweeter’ approaches the topics of slavery and anti-black racism with a directness that makes it easy for children to understand, as well as a humour that eases them into the more intense discussions of these issues later in the play. Director Tanisha Taitt further elevates that joy through her usage of music and dance that is sure to keep children and adult audiences equally engaged. I also thoroughly enjoyed how she kept the energy going through her transitions that often involved unique portrayals of the tree growing (through ladders with leaves attached), or flipping the flowers “planted” on the set (designed by Sim Suzer) to show a change in season. With the mix of human characters, along with with a talking sun Dee (Uche Ama) Mango Tree, the show never loses its playfulness, even as it delves into serious issues The Mango Tree metaphor works incredibly well as a clear way to portray the anti-black rhetoric of the time, while also not suscepting the audience into two hours of ‘trauma porn’. When Zucker, a light-skinned black man, first sees the Mango Tree, he calls her ‘ashy’, ‘dark’ and ‘scary’. When he first hears her talk, he says she’s demonic and spews Bible quotes at her. Then when he finds out how much money he can make off her fruti, he starts exploiting her. The metaphor is clear. The treatment is still vile, but the mango tree allegory cushions the hateful rhetoric without ever censoring it. Although ‘Sweeter’ is intended for young audiences, there are many nuanced layers to Richardson’s script that invite different audience interpretations. In addition to portraying anti-black racism, ‘Sweeter’ also touches on how class, proximity to whiteness, and gender can lead to certain privileges or further subjugations within the black community. I don’t think a small child would explain it like that necessarily, but the play definitely opens up the floor to those discussions. In the programme’s Playwright’s Note, Alicia Richardson says her purpose for writing ‘Sweeter’ was: “to explain the adult Black experience to a Black child.” As someone who is neither black, nor a child, I can’t speak to whether that specific mission was fulfilled. However, at ‘Sweeter’’s opening performance, there were so many moments where I heard the audience become disgusted by something Zucker said, or gasp, give a big “Aww” at a moment between Sweet Pea and Ralph, or even just laugh at a joke about Florida. Sometimes it was many people, other times it was just a few. Either way, it’s clear that Richardson’s very speific writing for her target audience led to a deeply personal and nuanced story that engulf’s the entire audience for each of their own reasons. A really memorable moment for me happened when Mango Tree talks about previously not benign able to grow fruit, and she says: “Can’t nobody expect you to grow if you’re too busy surviving.” Although the use of the mango tree metaphor could have risked deluding the show’s message, witnessing the collective ‘Mmh” and nodding of heads after this moment realy solidifed the importance of this story right now. Slavery may have already ended by the time ‘Sweeter’ begins, but its lasting effects continue to prevent Sweet Pea, Ralph, and even the antagonistic Zucker from ‘growing’. By focusing on the years after the abolition of slavery, ‘Sweeter’ fights against the anti-reparations/anti-affirmative action/anti-CRT/ pro-bootstrap myth crowds of today who believe that society is far removed from slavery, or the Jim Crow era, or police brutality incidents from a coupl of years ago. The same crowd who believes that people need to just ‘move on’, and that there’s no need to teach kids about it. By showing how bad society still was decades after abolition. ‘Sweeter’ puts a magnifying glass up to how society is still not removed from this dark history, and how it needs to be educated. On the note of education, I would also like to appreciate the ‘Study Guide’ provided by Cahoots, written by director Tanisha Taitt with contributions from playwright Alicia Richardson. The Guide includes further context about the characters and setting, discussion questions, curriculum connections, and additional themes for students in Grade 3-6 and 7-12. The Guide isn’t necessary for appreciating the play, but I would encourage teachers, parents, or even less-educated adults to read it over to have a more profound understanding. Running time: approximately two hours with one intermission. ‘Sweeter’ runs to December 17 at the Aki Studio, 585 Dundas Street East, Toronto. For tickets, https://www.cahoots.ca/production/sweeter SWEETER by Alicia Richardson A Cahoots Theatre Production in association with Roseneath Theatre. Directed by Tanisha Taitt Set by Sim Suzer Costumes by A.W. Nadine Grant Lighting by Shawn Henry Sound by Miquelon Rodriguez Featuring: Daren Herbert, Alicia Plummer, Uche Ama, Sébastien Heins, Emerjade Simms. Previous Next

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

Back 'As You Like It' by William Shakespeare Now on stage at the Spriet Stage at London, Ontario's Grand Theatre, 471 Richmond Street. Now on stage at the Spriet Stage at London, Ontario's Grand Theatre, 471 Richmond Street. Joe Szekeres “Innovative and clever. This ‘As You Like It’ takes necessary risks in the theatre. We need more of this.” "As You Like It," now on stage at the Grand Theatre in London, Ontario, takes a bold approach that may not please some academic purists. A significant amount of text has been cut. Set in the Okanagan Valley in the 1960s, the production features themes of peace and love, with characters dressed as bell-bottomed flower children. Will these creative choices upset those who prefer their Shakespeare untouched? Lighten up, will ya? Director and adaptor Daryl Cloran makes a brave and clever choice that enhances the production. He understands the importance of connecting Shakespeare to a twenty-first-century audience, including young people and first-time viewers. To achieve this, Cloran has integrated some iconic Beatles songs into the storyline, wisely choosing to excise certain passages of the text. A prudent choice as it works for me. Hopefully, it will never get to the point where young audiences may have to ask who the Beatles are. ‘As You Like It’ centers on two main love stories, with this theme extending to supporting characters. Cloran loves the Beatles’ music. Why not combine the two, as they truly make a perfect match? There are two cousins: Celia (Naomi Ngebulana) and Rosalind (Daniela Fernandez). Celia eventually develops feelings for Oliver (played by Matthew MacDonald-Bain). Celia’s cousin Rosalind has been banished from the court and disguises herself as a male servant named Ganymede. She escapes into the forest, where she encounters various colourful characters and inhabitants. In true Shakespearean comedic fashion, mistaken identities are common throughout the story. Additionally, the plot features subplots centered around the theme of love. It is in the forest where Rosalind meets her true love, Orlando (Jeff Irving), and she puts his loyalty to the test. The audience is invited into the house earlier to watch the pre-show action, and I strongly encourage future audiences to leave themselves enough time to do that. The pre-show takes place in a wrestling ring, where the audience observes various cast members in different roles. For instance, Jan Alexandra Smith portrays Le Beau, the wrestling referee. The atmosphere is loud and energetic, and this infectious excitement spills over into the audience. It suddenly becomes clear to me why the wrestling ring is a fitting choice for the pre-show. Wrestling has been a money-making art for years. The noise level at a match is deafening. When the story shifts to the forest, it becomes calming and is far removed from the raucous crowds. Pam Johnson skillfully designs a set that functions exceptionally well, keeping practicality in mind. Hina Nishioka’s striking lighting design for the wrestling ring transforms the space, transporting the audience to an idyllic forest atmosphere. Carmen Alatorre’s costumes beautifully evoke a flowery, pastel-coloured past, suitable for both men and women. Under the late Peter McBoyle’s original sound design, Owen Hutchinson ensures that dialogue and song lyrics are clearly audible throughout the auditorium. Music Director Ben Elliott carefully ensures that the lyrics complement the scene's tension and significance. The five-piece band sounds terrific. There were a couple of moments when they overpowered the singers for a few moments, but that was quickly rectified. Two standout vocal moments are "Let It Be" and "The Fool on the Hill," which are delightful to hear. Elliott also takes the stage during the opening night performance, portraying Silvius, a humorous forest pot-head dweller, and he is sound in the role. Jonathan Hawley Purvis effectively captures the iconic dance moves of the sixties. Daryl Cloran purposefully directs the production with a clear vision, plus he’s also poking fun at the script since: “Shakespeare tells actors to do that.” (You’ll get that reference when you see the show) The individual performances in this solid acting ensemble are impressive. Jeff Irving’s Orlando remains a handsome and genuinely good guy who truly falls in love. His impressive dance moves, staged by Hawley Purvis, stand out. Daniela Fernandez is delightful as Rosalind, bringing sweetness and charm to the role. Furthermore, Fernandez ensures that her character remains assertive, making her even more endearing to Irving’s Orlando. Naomi Ngebulana’s Celia is more subdued compared to her cousin Rosalind. However, Ngebulana does not present her silence as a negative trait. Instead, her Celia listens attentively, whether to Rosalind or to everything happening around her. This genuine ability to listen to others is what draws Matthew Macdonald-Bain’s Oliver to fall in love with her. Leon Willey’s Touchstone almost steals the show. Although he doesn't quite manage to do so, he comes very close. Willey’s impeccable sense of comic timing adds just the right amount of humour to maintain a lively pace. His interactions with the forest inhabitant Audrey (Jenny McKillop) are risqué but remain within appropriate boundaries. Jan Alexandra Smith delivers a wise and knowledgeable performance as Jaques. with the soliloquy "All the world's a stage" memorable. A Final Thought: Adapting some of the Bard’s works does not always go over well with academic purists. I know of several high school educators who prefer their Shakespeare unaltered, without any cuts, additives, or preservatives to the text. It’s time to move forward. In her programme welcome note, newly appointed Artistic Director Rachel Peake says that she spends a lot of time thinking about adaptation in general and of Shakespeare in particular. She should be doing that, as all language teachers should. I was all for that when I taught many years ago. Otherwise, there’s always been talk about removing Shakespeare from the high school curriculum if it’s no longer relevant to young people in the twenty-first century. As for this ‘As You Like It?’ I did. Go and see it. Running time: approximately two hours and thirty minutes with one interval/intermission. ‘As You Like It’ runs until November 2 on the Spriet Stage at London’s Grand Theatre, 471 Richmond Street. For tickets: (519) 672-8800 or visit grandtheatre.com. ‘As You Like It’ by William Shakespeare Conceived by Daryl Cloran & Bard on the Beach Shakespeare Festival Adaptor/Director: Daryl Cloran Music Director/Supervisor: Ben Elliott Choreographer/Fight Director: Jonathan Hawley Purvis Set Designer: Pam Johnson Costume Designer: Carmen Alatorre Lighting Designer: Hina Nishioka Original Sound Designer: Peter McBoyle Sound Designer: Owen Hutchinson Stage Manager: Christine Leroux Creative Consultant: Rick Boynton Performers: Henry Beasley, Tyler Check, Nadien Chu, Jennifer Copping, Daniela Fernandez, Jeff Irving, Alexandra Lainfiesta, Ben Elliott, Anton Lipovetsky, Jenny McKillop, June Mirochnick, Naomi Ngebulana, Troy O’Donnell, Jan Alexandra Smith, Isaiah Terrell-Dobbs, Leon Willey, Jacob Woike. Previous Next

Back Irene Poole Moving Forward Denise Grant Joe Szekeres It has been rewarding personally to watch artist Irene Poole in a variety of compelling roles over the last few years. First, I must make reference to the emotionally astounding production of ‘To Kill a Mockingbird’ at The Stratford Festival in which Irene played the adult Jean Louise Finch who looks back on her life in Maycomb, Alabama. I know I’ve said it before, but that production left me in tears because it struck right at the very heart of my core and emotional being. Sooo good….. Irene has also appeared as the ghostly Catalina/Katherine in Kate Hennig’s ‘Mother’s Daughter’ at Stratford. Other appearances include At Tarragon: The Little Years – Dora Award. Soulpepper (The Gigli Concert), Pleiades Theatre, Buddies in Bad Times (Manon, Sandra and the Virgin Mary), Stratford Shakespeare Festival (The Little Years, Three Sisters, The Taming of the Shrew, Macbeth, Romeo and Juliet, Phèdre), Factory Theatre (The Leisure Society – Dora Award, Bethune Imagined, Escape From Happiness, Better Living, Fighting Words, The Glace Bay Miners’ Museum, and Hockey Mom, Hockey Dad), Birdland Theatre (The Last Days of Judas Escariot – Dora Award), Citadel Theatre (God of Carnage), Alberta Theatre Projects (The Age of Arousal), Prairie Theatre Exchange (Hockey Mom, Hockey Dad), Theatre Aquarius (Wuthering Heights), Sudbury Theatre Centre (The Game of Love and Chance and The Attic, The Pearls and Three Fine Girls), Resurgence Theatre (A Midsummer Night’s Dream, Much Ado About Nothing, Talley’s Folly, Salt-Water Moon, Romeo and Juliet). Film and TV: Killjoys, Murdoch Mysteries, Carrie, Republic of Doyle, Breakout Kings, Rookie Blue. Other: Directed Canadian premiere of David Mamet’s, Romance, at Berkeley Street Theatre Upstairs. She studied acting at Dalhousie University. We conducted our conversation via email and, from some of her responses, Irene gave me some ‘food for thought’ ideas on how she is dealing with the pandemic. Thank you for the good conversation, Irene: 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? Throughout this pandemic I’ve felt very fortunate to live in Stratford where we’ve been relatively free of Covid, except for some outbreaks in LTC Homes. With numbers creeping up again though, and in this region, I feel it’s time for extra caution and patience. And perhaps a small, family Christmas. With several vaccines on the horizon, I think we’ll be looking at some sort of normal within the year. For many of us though we’ll emerge from this experience with a more cautious approach to interacting with people and being in public spaces; with perhaps more walls around our personal space than we’re accustomed to as artists. I wouldn’t be surprised if masks and sanitizers continue to be a normal part of our lives, especially during the season. How have you been faring? How has your immediate family been doing during these last eight months? I’ve been ok. Trying to find the positive side of having so much time on my ands. That meant a wonderful summer with my husband and kids, 12 and 7 – lots of trips to the beach, lots of walks with friends, distanced backyard visits. We taught them how to play Hearts and Euchre (editor note here: excellent choice) and forced them to listen to music created before 2019. But it’s been difficult to be entirely carefree with so many unknowns and worries about the future. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Well, beyond the obvious shuttering of our industry and the financial fallout of that, the most difficult thing has been feeling somewhat insignificant. That what I do for a living is so easily pushed to the side, and seemingly forgotten. While the government has been generous in taking care of people in the ‘gig economy’ I don’t feel there’s been many lights shone in the corners where we work. And we do work, and pay taxes – Federal, Provincial, Municipal, school. We carry mortgages and contribute to local economies. I wish there was little more effusive respect from our leaders for what we bring to our cities. 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 in rehearsal for ‘Much Ado About Nothing’ and ‘Hamlet’ and prepping for ‘Wolf Hall’ at the Stratford Festival. My understanding is that those productions may go ahead at some point but there are no immediate plans for their continuation upon reopening. What have you been doing to keep yourself busy during this time? I have been working on our house! I love home reno projects and luckily have this big old house to putter around in and fix up. It’s kept me sane. I’ve built railings and steps, repaired siding, rehung doors and painted everything. Since filming started up again in Toronto, I’ve also been auditioning and working. And being a mother keeps me busy all the time! Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I’d say to recent grads, “Get yourself a really good agent and audition for film and television.” I’d also say, if you can write, write. If you can produce, produce. If you can direct, direct. Get experience wherever you can. Also, and I say this with all respect for my chosen profession, if there’s anything else you love to do, develop those skills as well. I’ve been extremely lucky to have made a living as an actor, but the pandemic has left me bereft of any other employable skills. To my fellow performers, I’ll say, “We’ll survive, and I miss you.” Do you see anything positive stemming from Covid 19? The time I’ve had to cement the important relationships in my life has been a real gift. I hope that we can seek a better work life balance when things open back up. Going from working insane hours (and trying to squeeze all the other important life moments into the remaining hours) to barely working (and having lots of time to focus on those other moments) has illuminated how unbalanced life in the theatre can be. And it doesn’t feel tenable anymore. I hope our industry leaders will recognize the importance of that balance and act on it. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? Without a doubt. Theatres that manage to actually survive will have to make many changes going forward. Not just the obvious changes to health and safety but to programming an responding to issues highlighted during the time of Covid. The break has allowed us time to ponder our place in society, our responsibility to the events happening around us, especially with regard to BIPOC conversations and inequities. There’s no going forward without more inclusivity and real change in all areas of production. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I think artists should feel free to showcase their work however they want. There are no rights and wrongs about how to be an artist during this time. Let creativity boom and see what becomes of it. I did a Zoom reading of ‘A Midsummer Night’s Dream’ early on and had a fantastic time learning and trying to connect with the cast. I’m not sure it was the most engrossing theatre ever, but it was an offering for those seeking a break from a very scary worldwide crisis. Interestingly, we filmed our production of ‘Henry VIII’ last fall without an audience, due to the size of the Studio Theatre. I’ll be very curious to see if a play that has been rehearsed and lived in, then filmed can capture the spirit of the show, and audiences. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Connection, understanding, communication – with words, stories, colleagues, audiences. If I can’t have those connections in a live theatre I can seek them in other mediums – film and television, voice work. Also the community I’m proud to be a part of, the deep lasting friendships are the result of work in the theatre, and they remain strong. Even stronger since the pandemic started. Previous Next

Back 2 Pianos 4 Hands by Ted Dykstra and Richard Greenblatt Toronto's Royal Alexandra Theatre Cylla von Tiedemann Joe Szekeres Virtuoso performances by Ted Dykstra and Richard Greenblatt do not skip a melodic beat in this 2P4H. Absolutely wonderful. I had the chance to see 2P4H for the first time in the early 2000s at the Royal Alexandra and admired it so much then. Now, in celebration of its 25th anniversary, Ted Dykstra and Richard Greenblatt reprise their roles and return to the Alex once again, and I for one am honoured to be in their presence. The production appears stronger than ever and struck an emotional nerve within me possible for the fact we’ve all aged, we’ve all experienced more of life’s hardships, and we’ve all lost something or someone that has altered the course of our lives forever. ‘2 Pianos 4 Hands’ is the story of the young Dykstra and Greenblatt and their wish to become classical concert pianists. We follow their lives through their practices, their recitals, their rehearsals, their exams, and their auditions. Along the journey we share with Ted and Richard, we also share in their joy and sorrow in experiencing the pain of rejection and the sense of loss that so often comes with the music industry in knowing that one may not have what it takes to make it as a classical pianist. But is that enough? Two magnificent Yamaha Grand Pianos sit centre stage facing each other. Stage right behind the piano is a suspended gigantic vertical picture frame. At stage left hangs another gigantic horizontal picture frame. Throughout the production, these frames contain visual projections that help set the scene. Thank you to John Lott for the extraordinarily awesome sound design as I could hear everything clearly. Both gentlemen are elegantly dressed in tuxedos – Dykstra wears a dark black tuxedo, a white dress shirt underneath, black dress shoes and a black bow tie. From my seat, Greenblatt’s is dark grey with a white shirt, white bow tie and dark dress shoes. In between these sometimes hilarious and poignant moments of memory, we are also treated to virtuoso performances of classical music at the piano which remains one of the strong highlights of the production. Another strong element of the production is the grounded performances of Ted and Richard. The passage of time has not diminished their work as gifted artists. The bit of shtick at the top of the show when they enter, bow to acknowledge the audience, and take their places at the pianos becomes comic gold for a few moments through their gazes and stares at each other, and in their silent conversation. To tell you what happens here would spoil the setup as you must see it yourself to witness solid comic timing live. We are also introduced to some of the eccentrically, odd piano teachers both men had when they were boys. Early on, Dykstra assumes the role of a tired, haggard nun who was Richard’s first piano teacher when he was a boy. It worked beautifully. Dykstra hilariously assumed the voice and gait of this nun, and I could just imagine him in drag wearing a nun’s habit with the crucifix around the waist and a 12-inch wooden ruler in hand ready to rap Richard’s knuckles if need be. In contrast, Greenblatt becomes this wildly eccentric French piano teacher to the young teenager, Ted. Pay attention to the way Richard says ‘piece’. I can’t replicate the sound in print, but his vocal context and intonation once again are a comic joy. There was one moment where the double entendre of a joke sent the audience into raucous laughter. There was another racial reference at one point where the audience uncomfortably laughed because the ‘woke brigade’ today might (could?) take offence, but come on, folks. The context and setup for the joke are not malicious in intent at all. If anything, this joke becomes a reminder that through this reference we must not say something like this at all today. No offence is intended or meant whatsoever. Final Comments: What makes ‘2 Pianos 4 Hands’ still resonate today is it doesn’t skip a melodic beat at all. Dykstra and Greenblatt remain in tip-top and fine performance mode. The production most assuredly put a smile on my face. Terrific all around. Welcome back, Ted and Richard. 2P4H is stronger than ever. Running time: approximately two hours and five minutes with one intermission. As of the writing of this article, Covid protocols remain in effect. ‘2 Pianos 4 Hands’ runs to July 17 at the Royal Alexandra Theatre, 260 King Street West, Toronto. For tickets visit www.mirvish.com or call 1-800-461-3333. David Mirvish presents The Marquis Entertainment Inc & Talking Fingers Incorporated's production of 2 PIANOS 4 HANDS Created and Performed by Ted Dykstra and Richard Greenblatt and featuring alternate performers Richard Todd Adams and Max Roll Production Designer: Steve Lucas Sound Designer: John Lott Stage Manager: Andrea Bragg Produced by Robert Richardson and Colin Rivers Directed by Richard Greenblatt and Ted Dykstra Previous Next

Back 'Bengal Tiger at the Baghdad Zoo' by Rajiv Joseph Now onstage at Crow's Theatre in association with Modern Times Stage Company Dahlia Katz Dave Rabjohn A biting new production of Rajiv Joseph’s ‘Bengal Tiger at the Baghdad Zoo’ has opened at Crow’s Theatre in association with Modern Times Stage Company. Could there be a past due date stamped on this production which has painfully sat on the shelf for many Covid months? Emphatically no! This play explodes, baffles and mesmerizes from all four corners of the stage. Artfully directed by Rouvan Silogix and charged with breathtaking performances, this play might be called whimsical if it wasn’t so painful. Set in the midst of the Iraq war in Baghdad, a captive tiger bemoans her predicament while satirizing her fellow inmates who have foolishly wandered away from the war-torn zoo and city. Teased by an American soldier, the tiger tears off his hand and is in turn shot dead by a second soldier, Kev. Throughout the balance of the play, the tiger’s ghost haunts Kev into insanity and suicide. The insanity of war is exposed by Tom (Andrew Chown), with a newly fashioned prosthetic, who harbours a gold-plated handgun and toilet seat looted from the mansion of Uday Hussein – the son of the dictator. Misadventures continue between Tom and Musa, a creative gardener turned interpreter for the American army. A series of inevitable tragedies underscore the insanities of war. The performance of Christopher Allen is astounding and riveting. He moves easily through fear in the desolate and dangerous city to overwhelming angst as he is haunted by the tiger. Anguished screams haunt even the audience. His acting versatility is unmatched as his ghost becomes more evocative and philosophical while playing the Greek chorus to the mayhem around him. Kristen Thomson’s performance as the tiger is equally powerful. Thankfully lacking a loud Halloween costume, subtlety underscores the strength of the tiger’s observations, commenting on the parallels and contrasts of the human and animal world. Strength comes from Thomson’s subtle staring from time to time as her head and neck quietly move as a pensive animal’s would. A very slight lumbering in movement conveys indifference and is enough to contrast with the humans’ erratic movements. Ahmad Moneka, along with some beautiful singing in act two, artfully plays the gardener turned interpreter who is caught in the middle between two warring factions. His topiary work of various animals hanging from the theatre's heights reflect the majesty of his creations and the horrors of war as some of them are damaged. Stinging interactions between himself and the ghost of Uday, coolly played by Ali Kazmi, hint at repulsive crimes committed against his sister, genuinely played by Sara Jaffri. The theatre in the round scheme, invoked by designer Lorenzo Savoini was brilliant and intimate as no seating was higher than four rows. Potent lighting and sound (by John Gzowski) paired robustly to remind each scene that the war was ever-present . It is the dynamic of incongruity that makes us ache. Examples of this dissonance include the buffoonery of masturbation in a formal army interpreter’s office. The ridiculousness of eyeing a fortune on a toilet seat. A leper with an empty first aid kit. The ghost of a young girl with half her face blown away cries from one eye – the jest is caught in our throats. How different are countries from animals? The hunger for oil, wealth or power is not much different from the want of rice or meat. From Iraq to the Ukraine, Rajiv Joseph’s startling message is sadly universal. ‘Bengal Tiger at the Baghdad Zoo’ by Rajiv Joseph Performers: Christopher Allen, Andrew Chown, Mahsa Ershadifar, Sara Jaffri, Ali Kazmi, Ahmed Moneka, Kristen Thomson Director: Rouvan Silogix Set and lighting designer: Lorenzo Savoini Costume designer: Ming Wong Sound designer: John Gzowski Crow’s Theatre: Runs through November 6, 2022. Tickets at: www.crowstheatre.com Previous Next

Back 'La Bête’ by David Hirson Presented by Talk Is Free Theatre and now onstage at Harbourfront Centre Theatre Presented by Talk Is Free Theatre and now onstage at Harbourfront Centre Theatre Joe Szekeres VOICE CHOICE ‘A rollicking, side-splitting, laugh-out-loud high-style comedy presented by crafted stage artists. ‘La Bête’ is terrific.’ The time is 17th century France. Playwright Elomire (Cyrus Lane), with his second in command Béjart (Richard Lam), and their acting company have found favour with the Princess (Amelia Sargisson) and enjoy the lifestyle that comes with this patronage. However, the Princess has grown tired of Elomire’s acting troupe and finds them mundane and boring. To combat this, she has selected Valere (Mike Nadajewski), a full-of-himself, swaggering braggart, to join the acting troupe and instill some new blood into their travelling plays. High comic voltage sparks as Elomire cannot stand the sight of Valere and what he represents in the theatre world. To that end, a decision is made to perform ‘The Two Boys of Cadiz’ (one of Valere’s plays) in front of the Princess to show her just how unhinged and what a beast of a man Valere is. (thus, the reference to the translation of the title) That’s all you need to know about the plot. Be prepared for a terrific evening of theatre. I saw the production in Barrie last year. It was a rollicking and welcome addition on a very cold winter night. This time, the production is tighter thanks to director Dylan Trowbridge’s observant eye for utilizing every inch of the stage and the auditorium to maximum effect. Joe Pagnan and JB Nelles have again finely created a set design of colours, textures and fabrics reminiscent of a 17th-century French palace drawing room beautifully highlighted by Jeff Pybus’s lighting. The slightly askew large frame suspended high above the stage indicates that the scene playing below does not align with perfectly caught moments in pictures. James Smith effectively times his sound designs to the comic action on stage. Laura Delchiaro has carefully captured the 17th costume choices, from the pristine look of the Princess’s gown to the dishevelled and filthy appearance of Valere’s clothing. I especially liked Valere’s uneven sock length and the baggy, un-kempt costume. It says so much about how looks can be deceiving if one is willing to see beyond the superficial. David Hirson’s script is not easy to stage. For one, the wordplay within the text’s rhyming verse could be deadly if mishandled by artists who don’t understand how to incorporate iambic pentameter structure both in delivery and enunciation. That doesn’t occur here under Director Trowbridge’s watchful eye in sight and sound. He ensures continued reason, purpose and intent behind every action and reaction of the characters. The required and necessary frenetic pacing never appears to veer out of control. It is the performances that make this opening night a VOICE CHOICE. This marvellous ensemble is a theatre treat. As the leaders of the royal acting troupe, Cyrus Lane’s Elomire and Richard Lam’s Béjart firmly represent the stability of what the theatre represents in the court. The fact that Elomire is clothed entirely in black becomes a reminder of how things have become lifeless in the acting company. There is more colour in Béjart’s costume. Still, his yes-man mentality toward his superior, Elomire, strongly indicates that both are cut from the same cloth regarding their laissez-faire understanding of what the artist represents in royal life. However, Lane and Lam ably complement the daring craziness behind Mike Nadajewski’s bold and extraordinary Valere. Lane and Lam never upstage, and that’s a good thing. Instead, their silent looks and reactions toward Nadajewski become a reminder of how high comedy works when it is handled by artists who understand what must occur. Amelia Sargisson is a fickle and flighty Princess who can be easily swayed. She is aware that Valere is out of the ordinary. When she is forced to listen to Elomire’s logical reason why Valere must not become part of the acting troupe, the Princess begins to re-think her stance. However, Sargisson also shows as royalty, she is still in control of what happens in court. When she raised her authoritative voice as Elomire and Valere quarrelled, Sargisson made me sit up momentarily because I could sense who was in control. It’s not the arguing men; it’s the Princess. Madelyn Kriese, Courtenay Stevens, Amy Keating, Justan Myers and Katarina Fiallos are important supporting characters who become reminders of the importance of the nature of art and art in society. Their opening dance number at the top of the show courtesy of Movement Assistant Monica Dottor is a reminder of the gentility of the era. It drew my attention to the story quickly. The ensemble’s performance in Act 2 of ‘The Two Boys of Cadiz’ is decent and sound because they remain in synchronicity with each other as the play within a play is told. Mike Nadajewski becomes one of the reasons to rush, steal, beg, borrow, or do whatever you can to get tickets and see this performance. Upon his first entrance in Act One, Nadajewski inventively performs his opening monologue of almost twenty-five minutes with élan and fervour. It’s an absolute joy to watch an actor who truly understands what he’s saying and, most importantly, how to deliver it. Nadajeweski’s Valere remains vulgar, crude, and lascivious. Still, there’s also something inherently engaging and charming about the character that made me silently applaud every time he is on stage. Why? Nadajewski shows Valere to be a genius in his art and love of the spoken word behind all that bravado and buffoonery. And yet, the conclusion of the production is quite touching. There was complete silence in the auditorium. I was on every word uttered. That’s why I go to the theatre. ‘La Bête’ is an absolute must-see. And Another Thought: The Harbourfront Centre website describes ‘La Bête’ as an outrageous commentary on the nature of art and the artist in society. It’s the word ‘outrageous’ that makes me think more. Yes, playwright David Hirson explores some outrageous behaviour of some characters within his play. Nevertheless, is it also outrageous how we respond to the nature of art and the individual whom we know is gifted? Are we doing enough for those who are gifted in any respect to make us appreciate our world even more? Watching this opening night performance made me understand the validity of this statement. Running time: approximately 2 hours 20 minutes with one interval/intermission. ‘La Bête’ runs until March 16 at the Harbourfront Centre Theatre, 231 Queen’s Quay West, Toronto. For tickets: https://harbourfrontcentre.com/event/la-bete/. TALK IS FREE THEATRE in presentation with Harbourfront Centre present ‘LA BÊTE’ by David Hirson Director: Dylan Trowbridge Assistant Director: Tess Benger Set Design: Joe Pagnan Assistant Set Designer and Props: JB Nelles Costume Design: Laura Delchiaro Lighting Design: Jeff Pybus Movement Assistant: Monica Dottor Stage Manager: Sam Hale Performers: Mike Nadajewski, Cyrus Lane, Richard Lam, Katarina Fiallos, Amelia Sargiasson, Justan Myers, Amy Keating, Courtenay Stevens, Madelyn Kriese. (Photo Credit: Dahlia Katz. Pictured Mike Nadajewski as Valere) Previous Next

Back Chris Tsujiuchi ‘Thank you for telling me ‘No’, or telling me that I couldn’t, or that I shouldn’t, or that I won’t, because I did.” Sean Story Joe Szekeres Artist Chris Tsujiuchi will appear this month (along with a slew of other Canadian artists) in the quirky musical ‘Little Shop of Horrors’ at Port Hope’s Capitol Theatre. The production will be directed by Artistic Director Rob Kempson, with Music Direction by Jeff Newberry and Choreography by Genny Sermonia. The plot is well-known among theatregoers and those who remember the two feature films in black and white and in colour. The hapless and orphan florist Seymour has been hired to work in Mr. Mushnik’s floral shop on Skid Row. Seymour has fallen in love with the store’s other assistant, Audrey. While this is happening, Seymour has managed to grow a strange new plant which he lovingly names Audrey II, which finally captures her attention and that of the community surrounding the shop on Skid Row. Audrey II, however, holds some bizarre eating habits that set Seymour on the course of changing his life and all those involved in the story. Chris Tsujiuchi (who goes by ‘Tsuj' with a soft g sound) provides the voice of Audrey II. He will also play a few other roles in the show. Tsujiuchi is a 2010 Sheridan College Musical Theatre program graduate who is excited about returning to live theatre, especially with ‘Little Shop.’ He added how grateful and relieved he is, and I’m sure other theatre artists have felt the same emotions. There wasn’t much for artists to do when everything was closed, and he’s excited to be doing work he loves to do again. He was involved in some online and digital performances when the theatres were shut down for Covid. Tsuj is a self-produced cabaret performer and does a big Christmas cabaret in Toronto every December. He had to move to a digital Christmas cabaret during the shutdown. This meant he shot and edited a two-hour film which people watched from home. He further added: “As great as it turned out, it was not live theatre. It lacked that live connection the performer has with the audience. The film was shot over six days and then I edited it on I Movie for 3 weeks straight. I’m not an editor, but if I were one with the proper skill and software, it would not have taken that long. It would have taken way less time.” Chris was elated to share how rehearsals for ‘Little Shop’ have been going extremely well. He emphasized that point by slapping his knee twice on ‘so well’. When I spoke with him last week, the company was only on its third day of rehearsals. He said they watched the opening number, which has already been choreographed and it looks, in his words: “Ammaaazzziiinnggg! and that everyone needs to come to see the show.” Tsuj glowingly spoke about working with Rob Kempson. He has always loved working with him and has done so many times and in many different capacities. When Rob was Associate Artistic Producer at Toronto’s Theatre Passe Muraille, he created and programmed the Songbook Series. Tsuj has performed in the Songbook Series alone and as part of his vocal group ‘Asian Riffing Trio’. He was also Music Director when Rob directed ‘9 to 5’ at Randolph College. I then put him on the spot and asked Tsuj how he would describe Rob in one sentence: “Intelligent and sassy.” Chris then sent me the link when I asked him to explain the latter term. The humour doesn’t come out in print as it did when I heard Rob say it. So, when you’re at the Capitol, ask Rob directly why he is sassy, according to Tsuj. To be true to the ‘Little Shop of Horrors’ script, it’s impossible not to be a little sassy because the story is out there, so Rob’s sassiness is on the mark. Tsuj expresses great enthusiasm for finding and developing the voice of Audrey II. He’s having so much fun in the process. He then relayed some information I found interesting. For this production of ‘Little Shop,’ the actors honour the versions of the characters that have come before. If something that might have been used in the later film version (with Rick Moranis) is helpful for your character development, use it. If something is not working, then deviate away from it. After speaking with Rob and Music Director Jeff Newberry, Tsuj wants to honour the voices of Audrey II that have come before while also finding the ‘Tsuj’ version of the plant’s uniquely distinct voice. Chris saw the Broadway revival of ‘Little Shop,’ which featured Broadway artist Hunter Foster. That production focused on Crystal, Chiffon, and Ronnette, who acted as a Greek chorus, narrating the story and occasionally serving as extensions of the plant. Tsuj praises the cast of this upcoming production. He calls them all so talented and wishes he could tour this show with this cast. They were all surprised that everyone was available at this time to perform the show at the same time. The cast includes Amir Haidir as Seymour, Tahirih Vejdani as Audrey, Tyler Muree as Mr. Mushnik, Michael Derose as Orin (and others), Michelle Yu, Sierra Holder, and Taylor Lovelace as Crystal, Ronnette and Chiffon respectively, and Joel Cumber as the Audrey II puppeteer and the entire ensemble. As we concluded our conversation, I asked Tsuj why audiences must make their way to the Capitol to see this production of ‘Little Shop’: “The music will be on point. The choreography will be on point. The story is ridiculously hilarious. You will laugh, you will cry because you will laugh so hard. The production value is out of control. We’re giving you a man-eating plant from outer space realness on stage at the Capitol. That’s why audiences must come to the Capitol.” Once ‘Little Shop’ has completed its run at the Capitol, what’s next for Chris? He is Artistic Director of The Sing Toronto Vocal Arts Festival focused on the unaccompanied human voice. It is a week-long festival that happens every May in Toronto. To learn more about this festival, visit https://singtoronto.com/ to learn how to enter. He’ll work on getting contracts out for this festival for a couple of months before he heads to Nova Scotia to be the music director for a panto and then back to Toronto to do his Christmas Cabaret. In December of this year, he will be the Music Director for “A Whole New World: The Story of Alan Menken” in which four actors and a three-piece band take the audience through Menken’s life and music. Tsuj will also reprise his role of Audrey II in this show. ‘Little Shop of Horrors’ opens August 11 and runs to September 3 at Port Hope’s Capitol Theatre, 20 Queen Street, Port Hope. For tickets, call the Box Office (905) 885-1071 or visit https://capitoltheatre.com/events/little-shop-of-horrors. Previous Next

Back '9 to 5, The Musical' Port Hope's Capitol Theatre Sam Moffatt Joe Szekeres When a musical theatre production of a feature film is so damn entertaining, you just want to make sure it gets the garnered attention it deserves. Get to see ‘9 to 5’ because word will get out just how good it is. ‘9 to 5, The Musical’ now onstage at Port Hope’s Capitol Theatre deservedly earned its standing ovation at the curtain call from the show I attended. It is so damn entertaining that I want to shout out loud how you must get to see it because it is terrific and so much fun. Based on the 1980 feature film screenplay, we are introduced to three downtrodden ladies: Violet (Julia Juhas) who trained the boss at one time. She is a widow raising her teenage son. Violet knows a great deal about the company but is treated as a secretary by the Boss. There is a newcomer to the office Judy (Krystle Chance) whose husband left her for a much younger woman. Doralee (Kelly Holiff) is the buxom personal secretary to Boss Franklin Hart Jr. (Andrew Scanlon). We also meet Roz (Gabi Epstein) who is Hart’s “eyes, ears, nose, and throat” spy within the office. Violet, Judy, and Doralee have had enough of Hart’s chauvinistic attitude and demeanour so they plot their revenge to kidnap him and keep him away from the company so changes can be made whereby everyone feels valued in the work they do. I remember reading the Broadway production did not run for as long as it was expected. Some may argue the show might be outdated for its stereotypical presentation of male chauvinism or any connection to the #metoo movement. Forget doing that. If anything, this ‘9 to 5’ flips the metoo movement on its head. Before anyone misinterprets this statement, Director Rob Kempson is not downplaying, ignoring, or poking fun at this horrific behaviour of men towards women. Instead, these intelligent women paved the way forward to combat this deplorable treatment through implausibility that provokes much laughter, and God knows we all need to smile and laugh right now. Let me count the ways in which I loved how the Capitol’s production made me do just that. For one, Kempson and Music Director Chris Barillaro pay glorious loving detail to character development, to the fluid movement in staging and the marvelous harmonies in music. Once again, I remember reading somewhere Rob adores Parton’s music and had always wanted to stage ‘9 to 5’. I hope I’m right in remembering this, Rob because your work in bringing this story to life becomes that refreshing drink of humour to quench ourselves. The first thing I noticed when I sat down was Brandon Kleiman’s attractive geometric art form in creating a corner of a downtown office building. It’s quite effective and creates the illusion this building is large. Kleiman was also in charge of costume designs which boldly reflected the colours and flair of the 1980s. Chris Barillaro’s sensational music direction heightens many scenes in plot and character development. Backwards Barbie’ is poignantly sung by Kelly Holiff who inherently understood the intent of the song. We hear the voice of a woman who is trying to fit in amidst the horrible rumours flying around the office of her extra-marital affair with Hart. Holif allowed the emotions of the song to run not only through the lyrics but also through her face and eyes. Judy’s solo ‘Get Out and Stay Out’ gracefully and stoically sung by Krystle Chance was another moment where she too also understood the intent meant not only to send her ex-husband on his way but more importantly for her never to allow that kind of influence to enter her life ever again. I was on every word sung by Holif and Chance and I applaud them for moving me and making me pay attention. Julie Juhas’s heartfelt duet ‘Let Love Go’ with the nice young accountant Joe (Robbie Fenton) is sweet without that horrible saccharine aftertaste. I was quietly rooting for them at the end of their song. Julie Tomaino’s dazzling and spirited choreography electrically charges and amply fills the Capitol stage. Every inch of space is utilized to its fullest. Two numbers to pay attention to: ‘One of the Boys’ (with Violet and the Male Ensemble) and the opening and closing title songs. My eyes constantly moved while trying to capture what every person was doing. I must acknowledge the slick work of this adroit ensemble who terrifically upped the ante in such veritable Broadway-style numbers ‘Around Here’ and ‘One of the Boys’. The seamless scene change shifts remain tautly nimble that I wanted to see how the ensemble might top themselves next. Gabi Epstein is a riot as Hart’s office spy, Roz, and what a set of pipes when she winningly soared in ‘Heart to Hart’ and ‘5 to 9’. What a theatrical treat to watch Andrew Scanlon’s lecherous and immoral Franklin Hart, Jr. in his showstopping number ‘Here for You’ to reveal the man’s world mentality in his attempted seduction of Doralee in his office. I haven’t laughed that loud for such a long time, so I thank Scanlon for giving me that opportunity. Julia Juhas, Kelly Holiff and Krystle Chance are top-notch and consistently remain so throughout the show. Thankfully they have not looked to re-create Lily Tomlin, Dolly Parton or Jane Fonda in their performances. I saw flesh and blood people here who struggled and fought and who celebrated what they have achieved regarding equity, equality, and fair play. Yes, these qualities from the 1980s are not the same as they are today. But this ‘9 to 5’ let me see just how far we have come. And along with music and laughter backing this up, we are in for one hell of a great evening of entertainment. Final Comments: ‘9 to 5’ is that feel-good summer show we all need right now. Run or call to get tickets because the word’s going to get out just how good this show is. Running time is approximately 2 hours and 30 minutes with one intermission. ‘9 to 5, The Musical’ runs to September 4 at Port Hope’s Capitol Theatre, 20 Queen Street. For tickets, call 905-885-1071 or visit capitoltheatre.com for more information. ‘9 to 5, The Musical’ Music and Lyrics by Dolly Parton Book by Patricia Resnick Director: Rob Kempson; Music Director: Chris Barrillaro Choreographer: Julie Tomaino Set and Costume Designer: Brandon Kleiman Lighting Designer: Michelle Ramsay Sound Designer: Ben Whiteman Stage Manager: Lucy McPhee Band: Chris Barillaro, Matt Ray, Jason O’Brien, David Schotzko Performers: Julie Juhas, Kelly Holiff, Krystle Chance, Andrew Scanlon, Gabi Epstein, Sofia Contal, Caitlin McKeon, Jenny Weisz, Malinda Carroll, Robbie Fenton, Jonathan Patterson, Tyler Pearse, Dave Comeau, Travae Williams Previous Next

Back 'Doubt' by John Patrick Shanley Presented by Thousand Islands Playhouse and now on stage at the Firehall Theatre Credit: Randy de-Kleine Stimpson. Pictured: Karl Ang as Father Flynn Joe Szekeres “Solid performance work in this ‘Doubt’ counterbalances some puzzling artistic choices.” Set in 1964 in the Bronx, New York City. St. Nicholas Catholic Elementary School principal Sister Aloysius Beauvier (Jacklyn Francis) suspects an improper relationship between an unseen and new 12-year-old black student, Donald Muller, and the charismatic parish/school priest, Father Flynn (Karl Ang). Sister Aloysius believes she can only achieve justice by involving the young lad’s teacher, Sister James (Cassandra Pires), and his mother (Gloria Mampuya). The backdrop of 'Doubt' is the Second Vatican Council from 1962-1965, which Pope John XXIII called to update the Catholic Church and better connect with people in an increasingly secular world. The Council aimed to improve some of the Church's practices and present them in a way that congregation members could understand. The Council divided Catholics—some were for it and others against it. Father Flynn believes in the welcoming face of the Church, while Aloysius firmly adheres to the tenets of the Faith pre-Vatican 2. Some unclear directorial decisions by Lisa Karen Cox puzzle me and prevent this ‘Doubt’s’ impact from reaching its full potential. Let’s begin with some of her sound choices, though. To my ear, I did not hear the actors try speaking with a Bronx intonation. Rather than try something that might not be consistently maintained, the performers allow Shanley’s dialogue to speak for itself. That choice works. As the audience enters the Firehall auditorium, they are greeted by a small table of votive candles. This thoughtful detail serves as a reminder that they are entering a sacred space, not only for the actors but also to understand the influence of the Church. Designer Jawon Kang's sparse set is angled downstage. The floor resembles a board game, where Cox blocks the characters in their chess-like movement, signifying who has the power at a given moment. Because of this, she creates compelling visuals throughout. Additionally, Kang’s vast cut-away crucifix design sometimes serves as Father Flynn’s entrances and exits. The same occurs when Sister Aloysius pushes part of the back wall out to move the bushes being pruned for the winter. Quite clever indeed. Upon entering the Firehall auditorium, I was immediately drawn to Samay Arcentales Cajas's projection designs. The projection of a barren tree branch suggests that fall is in the air. Jacob Lin uses his sound design to enhance the suspense at a specific moment, most notably when Aloysius and James spoke outside in the garden while Flynn was in the rectory, teaching the boys about manhood. Christian Horoszczak's lighting design adds to the intensity as Flynn and James converse in the garden about Aloysius's crusade to expose the priest. By combining the work of these visual designers, Cox successfully creates a focused intensity that keeps me on the edge of my seat, fully engaged in the conversation between these two characters. Karl Ang stands out for his confident and compelling portrayal of Father Flynn, most notably during his confrontation with Aloysius in her office. Ang subtly and alarmingly suggests something improper may have occurred. Gloria Mampuya delivers a powerful performance as Donald’s mother. Mampuya shows natural, consistent, and believable reactions. Her portrayal is controlled and restrained, conveying Mrs. Muller's emotional turmoil through stillness and attentive listening, even when she shares shocking news about her son and his father. Shanley has written articles stating that in 'Doubt,' the story is seen from Sister James's point of view. Cassandra Pires’ work reflects this significance. She portrays Sister James as sweetly demure yet assuredly tested each time she interacts with Aloysius. James's final appearance with Aloysius at the end of the show suggests that a once hopeful, energetic, and youthful teacher becomes disillusioned with the profession and feels unfulfilled in helping young people. Jacklyn Francis takes several minutes to convince me of her portrayal of Sister Aloysius's prickly personality. In her first scene with Sister James, Francis doesn’t convey the image of a strict disciplinarian and dedicated school leader whose vital duty is to protect her students. However, that changes where Flynn is invited to tea in Aloysius’s office. In this scene, Cox has Francis stealthily moving around Ang after he takes her seat at the desk. It’s intriguing to watch Francis ponder and think before speaking and then move with purpose and intent, like a cat about to pounce on a mouse. Unfortunately, several of Cox’s choices pulled me out of the plot’s action, and it became a bit challenging to maintain focus. At the top of the show, Flynn and the Sisters enter from the back of the auditorium. Flynn dons the traditional vestments that priests wear to celebrate Mass. He raises his arms to the congregation as if to begin the first homily about doubt. It’s a breathtaking opening. I wait with anticipation, expecting to see a charismatic priest speak to us. That doesn’t occur. Flynn exits. Instead, the audience watches the opening homily about doubt and the one about gossip and intolerance projected on a screen. Why? I felt let down I couldn’t see and listen to Ang deliver these two sermons live. This isn’t COVID 2020-2023 when the mass was celebrated on television and online. It's 1964. Had that been forgotten? Parishioners would have gone to Church as a family. St. Nicholas’s Parish would have been at or near capacity because Flynn is youthful, vibrant and a role model for the kids. Filming the homilies creates distance, and ‘Doubt’ is a play about making connections. About halfway through, Sister James sits alone in the garden for a few moments, praying silently. Flynn immediately enters to begin the conversation. That scene does not ring true at all. It feels rushed. If someone is praying, let the audience see the individual doing so even briefly. Flynn follows James into the garden and watches her. His actions raise the intensity, as he knows she always prays there. It’s another moment of a cat-and-mouse approach. Let the audience feel the tension rising and watch in silence. Francis and Pires's head coverings do not match the 1964 Order of the Sisters of Charity to which James and Aloysius belong. They should have worn black bonnets instead of the black veil coverings, which have been worn in most of the professional live productions I’ve seen, including the original Broadway replacement cast. A slight quibble involving the telephone on Sister Aloysius’ desk. I had to do some quick online research and discovered that there would have been push-button phones in 1964. However, this one looked like it was taken from the Bell Canada store. Even though St. Nicholas School would have been classified as one of the better schools in the Bronx, I don’t believe there would be evidence of push-button phones at that time, as Aloysius would probably say that was a luxury. Final Thoughts: In her Programme Note, Cox writes what lessons need to be learned from ‘Doubt.’ She hopes audiences will challenge themselves by listening, questioning, and identifying the root of motives and desire. Doing so is not for the faint of heart, as uncertainty is always exhausting. For the most part, Cox succeeds in setting out what she wants to do with Shanley’s twenty-year-old play about moral uncertainty. As a practicing Catholic, I still find ‘Doubt’’s story compelling. Cox wants the audience to take the time to be together regarding this moral uncertainty, albeit uncomfortably, and think for themselves. The play's and this production's endings are still gutting. Jacklyn Francis holds me in her hands as the lights dim. Her closing performance speaks volumes. I just wanted to experience and invest more in that emotional connection. Running time: The programme states the run time is approximately 90 minutes with no interval/intermission. When I checked the time on my phone, it was 75 minutes. Please try not to rush that one scene in the garden I mentioned earlier. ‘Doubt: A Parable’ runs until September 29 at the Firehall Theatre of Thousand Islands Playhouse, 185 South Street, Gananoque. For tickets, visit www.1000islandsplayhouse.com or call the Box Office at (613) 382-7020. THOUSAND ISLANDS PLAYHOUSE presents ‘Doubt: A Parable’ by John Patrick Shanley Directed by Lisa Karen Cox Set & Costume Design: Jawon Kang Lighting Design: Christian Horoszczak Sound Design: Jacob Lin Projection Design: Samay Arcentales Cajas Stage Manager: Dustyn Wales Performers: Karl Ang, Jacklyn Francis, Gloria Mampuya, Cassandra Pires Previous Next

Back 'Celestial Bodies' by Jacob Margaret Archer The Studio at Toronto's Young People's Theatre Jimmy Blais Joe Szekeres A challenging dramatic monologue of body imaging which is difficult to discuss, ‘Celestial Bodies’ is treated with the utmost care, dignity, and respect for the human person. Young People’s Theatre once again handles youth issues with care, class, and dignity for the human person. Produced by Montréal’s Geordie Theatre, ‘Celestial Bodies’ becomes a hard-hitting, poignant tale of a young girl entering high school who becomes self-consciously aware of her diverse body image and how she appears different from others. But, though, when we look at the galaxy and the universe, there are diverse shapes, bodies and sizes that are beautiful and extraordinary in their own unique way. As a retired 33-year schoolteacher, I will admit this is an issue which truly hasn’t become any easier to discuss with young people. If anything in our social media age, some young people become fixated on maintaining the perfect body image to the point of health and relationship issues with others. Protagonist Stella is what I will call the normal teenage girl from my years in education – a fast talker because she’s trying to relay as much information as she can and how she is feeling about it. At the beginning of the story, she is sitting in a hockey locker room deep breathing to calm herself down after a panic attack. To calm herself down, Stella shares with us she is interested in the galaxy and dreams of becoming an astronaut. Whenever she feels panicky, she imagines she is wrapping herself up in the universe and the galaxy and this seems to calm her nerves. Stella is at the pharmacy with one of her two mothers conversing with the pharmacist about weight gain. Her mother Imma who is overweight is very warm and accepting while her other mother, Andie, was a former Olympic hockey player from the Turin Olympics who is always giving pep talks to her daughter. She’s going into Grade 9 and like any other young person going into high school wants to fit in. She tells us about a boy who was in her French class in Grade 8 and used to wink at her when he handed out the homework. Stella took a fancy to his winks and hoped more would come from this connection he made to her. Going into Grade 9 poses its new set of problems. The boy who used to wink at her in Grade 8 is now very mean to Stella. He and another girl end up throwing a yogourt cup at the back of Stella’s head. She leaves the room with her dignity intact but loses her composure in the bathroom as she’s trying to get the yogourt out of her hair. A girl, Essie (who is different from the others at the school) comes in to help Stella wash the blueberry yogourt of her hair. They later become friends. Essie encourages Stella to become part of the hockey team with her brother, Noah, whom Stella calls a cute guy. Noah learns of Stella’s interest in the galaxy. The next day, when she is at school, Stella’s science teacher makes a comment about her size and her wanting to become an astronaut which he realizes afterwards was a huge error on his part, but the damage inflicted through words is already done. While in the cafeteria, bullies start taunting Essie and Stella once again and throw another yogurt cup. Because Stella has been practicing goalie moves, she captures the yogourt cup, and tosses it to Essie who then flings it back at the bullies. Essie and Stella are then given detentions even though they are the ones who did not start this teasing incident. A staff-student hockey game in which Stella participates becomes a high point of interest where she maintains her dignity about herself and her place in the world, including the galaxy. As Stella, Riel Reddick-Stevens remains most believably and consistently grounded in the moment and very real in her performance of a young girl who is confronting so much stuff in her life. She never ventures into tears or overacting but allows the words of the monologue and their meaning to speak for themselves. Director Jimmy Blais envisions this story with dignity and compassion for all diverse body individuals because he writes in his Director’s Note: “This play hits home for me and for whoever has struggled with body image.” Thank you so much for your candour, Jimmy. Tim Rodrigues’s lighting design fluidly moves from shadows to warmth with ease from scene to scene and from moment to moment naturally. The multitude of colour hues from the galaxies has been effectively captured on stage. I especially liked Eo Sharp’s set design. On the floor are pictures from the galaxy where there are pictures of planets from space. Reddick-Stevens believably moves from around the Studio playing space sometimes while standing on a planet or at other times in the middle of the galaxy. Reddick-Stevens also maneuvers around the stage in what looks like three mushroom stands. You’ll see them in the picture above. These set pieces are quite effective in providing an interesting visual perspective because nothing in the galaxy ever appears the same. Things are constantly changing shape and size continually. As Blais says in his Director’s Note: ‘We are like stardust’. Final Comments: As a 33-year retired schoolteacher, I would heartily recommend ‘Celestial Bodies’ as a trip for elementary and secondary students, first as an opportunity to discuss with students the importance of self-care, self-image, accepting and loving ourselves in the way we have been formed. Second, this is an extraordinary performance to watch a recent theatre school graduate share a story that gripped the attention span of the young audience members I saw around me. Running Time: approximately 60 minutes with no intermission. There are some Q & A after the performance so check when you purchase tickets if you are interested. ‘Celestial Bodies’ runs until December 9 in the Studio at Toronto’s Young People’s Theatre, 165 Front Street East, Toronto. For tickets, call 416-862-2222 or visit youngpeoplestheatre.org. ‘Celestial Bodies’ by Jacob Margaret Archer Produced by Geordie Theatre Directed by Jimmy Blais Set and Costume Designer: Eo Sharp Lighting Designer: Tim Rodrigues Design Assistant: Sorcha Gibson Production Manager/Technical Director: Aurora Torok Stage Manager: Annalise Pearson-Perry Performer: Riel Reddick-Stevens as Stella Previous Next

Back Allen Kaeja, Co-Artistic Director of KAEJA d'DANCE Looking Ahead Courtesy of KAEJA website Joe Szekeres According to Allen Kaeja, we are all dancers. A recent enlightening conversation with Allen Kaeja, Co-Artistic Director of KAEJA d’DANCE, and his statement above allowed me to gain further understanding and knowledge about the art form of dance. Several weeks ago, I also held a conversation with Allen’s wife, Karen, and she was also present during the Zoom call. On the Kaeja d’Dance website, Michael Crabb from the Toronto Star stated the Kaejas: “have been called ‘a power couple’, ‘go-getters’ and ‘the coolest couple on the dance scene.” I liked Crabb’s descriptors of the two of them as I could sense these same sentiments as well. How’s Allen feeling about the return to the world of live dance given we’re still in the throes of Covid: “The world turns. It changes all the time. We adapt or die and for myself, when the world pivoted, the whole thing for Karen and I? We’ve been working in film for 25 years. We were working in Zoom years before the pandemic on other projects and I’ve already investigated live stream years before. When everything shut down, boom, we’re ready to go and within a few months, we were up and running fully as a company and with projects in our transition from live theatre back into film.” I asked them what has the overall response been from audiences about the return of live performances of dance. Karen has attended a few shows and she has found responses fantastic. She senses from what she has seen in the lobby there is a fresh sense of camaraderie. From her perspective, those audience members who are ready and prepared to go are relieved to be seeing something visceral that they can witness and that they know is ephemeral. Karen and Allen are in the contemporary dance field which they call experiential and immersive. Audience members must allow themselves to be flooded by the imagery, the physicality of the brilliant dancers and the resonance to embed itself. For Allen, contemporary dancers don’t work in a linear per se type of artistic field. Contemporary dance is an abstract form that deals with kinetic and majestic visual value. Yes, there is an intention behind the work, and the progression of the piece has its own series of arcs, but it is not something which says one has to think or feel certain emotions at certain points. What’s next for Kaeja d’Dance? In celebration of its 31st Anniversary, November 11-13 will see the world premiere of two deeply personal works: ‘TouchX + I am the Child of’ as part of the international contemporary dance series Torque. Fifty performers combined will be involved and 4 AR experiences. ‘TouchX’ will be choreographed by Karen. She has been working on this piece for seven years. It’s the largest piece she has made, the longest, and the most number of people and collaborators in it. There is a mix of professional company dancers with community dancers with whom she has worked in other site-specific ways. This is the first time she has brought all these dancers together on stage. For Karen, what’s exciting about ‘Touch X’, it’s new but it’s also a lot to be organizing. It is a massive project which is a challenge, and she thrives on challenges. From the release I received: “I am the Child of, choreographed by Allen, the first fully staged dance production in Canada to integrate Augmented Reality, examines the concept of perspective and delves into childhood memories - in particular those life-altering memories that shape who we are and live on in the body. Each of the nine dancers in the work was asked to share a profound memory that has shaped them. Memories from being left to hitchhike by a parent on the Highway of Tears in BC to learn how to rollerblade to childhood emotional abuse were exchanged and helped inform the creative and choreographic process.” In 2015 when Stephen Harper was Prime Minister, there was a crisis in the Middle East with refugees wanting to come to Canada. Mr. Harper started to say he was going to block these refugees. Back then Allen was rarely political in his social media posts, and he was driven to write a Facebook post that started with ‘I am the child of a refugee.’ Allen’s father, Morton Norris, was a Holocaust survivor in Auschwitz. His brother-in-law died in his arms. 90% of his family was murdered, many of them from the ghetto and Auschwitz. Morton witnessed his family being put on the gas trucks. In 1945, William Lyon Mackenzie King was an avid anti-Semite bringing in the policy of none is too many and Jews were not allowed in this country. In 1948, Norris came to Canada as a refugee with nothing. He built a life. He built a new family as he was married with children before the war. Norris made new connections and built a community. When he passed away, Morton Norris was made an honorary police officer for the work he had done not only for the Police Federation but for the community as a whole. This is what refugees do. They come here and build worlds; they work hard and build a community. That’s why Allen had written his social media post “I am the child of a refugee” which went viral. A couple of years later Allen was thinking about what he wanted to do as new work because he’s done a lot of work based on his family’s history and the Holocaust. His community is so filled with such essential voices and experiences that he wanted to invite these different individuals to begin to reveal and express their stories through dance and for us to interact physically and kinetically with each other. This is the inspiration for “I Am the Child of”. Allen also adds he has a brilliant cast of eight live dancers and five AR (augmented reality) dancers, so a cast of 13. During the performances, the audience will be invited to come in with their personal devices. They will have a choice to watch different sections where they will be cued to see multiple perspectives and viewpoints so make sure phones are charged. Audiences do not have to do this and can just simply enjoy what plays out in front of them on the Fleck Dance Theatre stage. For Allen, audiences who use their device will be given more context, and more information if they choose to do so. Audience members with educational backgrounds and training can see more in a dance and movement piece than those who do not have a strong background. In Allen’s opinion, what is it about dance and movement pieces that appeal to ALL audience members? “Because we live in our bodies. We are who we are, and in our world (but I won’t speak for Karen), all movement is dance and we are all dancers. Whether we pursue it professionally or not does not matter. All movement is dance and therefore we are intimately involved with dance whether we’re aware of it or not. As an observer dance moves us kinetically and viscerally.” Kaeja d’Dance 31 (TouchX + I am the Child of) will perform on stage November 11–13, 2022 at 7:30pm at Harbourfront Centre Theatre, as part of the international contemporary dance series Torque. For further information, visit harbourfrontcentre.com. You can also visit kaeja.org to learn more about Kaeja d’Dance. Previous Next

Back Liz Callaway Moving Forward --- Joe Szekeres Actress, singer and recording artist Liz Callaway put me at ease so quickly during our conversation today that I even said to her, halfway through, I felt like I was having a cup of tea with her while we chatted about so many things. And you will see from her answers Liz has been through a great deal over the last seven months. I had the good fortune to have seen Liz perform in the original Broadway company of ‘Miss Saigon’ many years ago. She also appeared for five years in the Broadway run of ‘Cats’ as Grizabella and sang the iconic ‘Memory’. Liz sang the Academy Award nominated song “Journey to the Past” in the animated feature Anastasia and is also the singing voice of Princess Jasmine in Disney’s Aladdin and the King of Thieves and The Return of Jafar. Other film work includes the singing voice of the title character in The Swan Princess, Lion King 2: Simba’s Pride, Beauty and the Beast, The Brave Little Toaster Goes to Mars and The Rewrite with Hugh Grant. I did not know that Liz sang back up vocals to the theme song of television’s ‘The Nanny’ (Fran Drescher). The theme song was written and lead vocals by Liz’s sister, Ann Hampton Callaway. She is a strong advocate for people to vote, especially for this upcoming US election. Liz and I conversed through Zoom. Thank you so much, kind lady, for taking the time: It has been an exceptional and nearly seven long 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? During this crazy time, I enjoy hearing what people are doing and how they’re feeling during the pandemic. It’s very comforting to me to read that. It helps. I was on a Zoom with Lucie (Arnaz) recently and I let her know how much I enjoyed reading her profile. And yet, this is so scary that the numbers are going up. I live about an hour north of New York City and where I live right now, it’s okay. But you can just see the numbers are creeping up everywhere. I have a big anniversary coming up on Monday. My husband (Dan Foster) and I for the last year were saying we were going to go somewhere and do something really special. I blocked off time, and now you can’t go anywhere. There’s a spike happening everywhere. I don’t know how soon we will emerge to a new way of living. For the longest time, it felt like, “Ok, this is just a pause.” I finally came to grips with “No, this is life. This is the new normal.” And we have to accept it. Every day I read something new about a show might be opening, or this is going to happen and keeping tabs on what’s happening not just in the States, but in London, England as well for theatre and concerts. I think it’s going to be quite some time, and I don’t know if it will ever totally be the same. But I think it will start in baby steps. I’m possibly looking ahead to next summer. I hope I’m wrong, and even then, who’s to say as that’s what is so hard about all of this as there is such uncertainty. We all like to feel in control and we can’t control this. But I don’t know when people and audience members are going to feel comfortable being close together. Financially, it’s incredibly difficult for theatres, for club owners to operate and restaurants at a diminished capacity. It also makes me feel so bad to think that singing is one of the most dangerous things to do. We have to keep people safe. I was supposed to go into Manhattan yesterday as we were to perform a socially distant Broadway style song in Times Square. Over the weekend I came down with a dry cough and I didn’t want to take any chances. I got a Covid test and it was negative, but I still didn’t want to sing even with a mask and the whole plastic shield. I don’t want to take the chance that I could infect anyone. I’m sure we will re-emerge, and boy can you imagine what it’s going to be like to be able to go hear music and go to a show? I can’t wait to be able to sing for people. But will we ever be the same? I don’t know. Theatre will come back eventually, but there will be a lot of changes. How have you been faring? How has your immediate family been doing during these last seven months? As a performer, I haven’t been on an airplane since March. I’ve travelled into Manhattan for a couple of recordings but I’m still nervous about all of this. There are going to be some amazingly creative things as we come out of all this. My husband, Dan, was in a serious car accident on his way home in May from picking up Mother’s Day flowers for me. He was in the hospital for a week. He broke 12 ribs and his ankle. It was very, very scary. He came home and is doing really well. That just changed us. It was incredibly stressful but a miracle that he is okay. For the first month or two after the accident I was taking care of him. Our son, Nicholas, was home for the first three months of the pandemic. He’s in graduate school and lives in Brooklyn Heights. That was a gift to have time with our son, and he was home when Dan had his car accident. Every day I thank my lucky stars that Dan is okay and that we have this time together because we begin to realize that you just don’t know if or when things could change. That has been really hard, but at the same time I felt so blessed and relieved Dan was okay. I miss my sister (singer Ann Hampton Callaway) terribly. She moved to Tucson a few years ago. We used to be 5 minutes from each other. We talk almost everyday, but I keep thinking that I have to get out to Arizona. I’ll put on a hazmat suit, fly out to Arizona and see her, but if the numbers keep going up that won’t be happening. I find Zoom and FaceTime emotionally exhausting even though they are wonderful technological advancements. I sometimes think old fashioned phone calls have been nice during all of this. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Personally, not being able to see my sister. We had a lot of gigs planned together for the summer. I miss my friends. Many of my closest friends don’t live in New York. Dan’s car accident has also been really challenging this last while. Professionally, one of the things that is tricky is we’ve all had to become technicians. When this first started, everyone wanted to create things, live streaming, and I’ve done a lot of things for The Actors’ Fund, The Stars in the House. These organizations are amazing and people are opening their hearts and their wallets and contributing to all of these charities that need help. I’ve had so many requests for chatting, podcasts, discussions that I’ve found it overwhelming at times just because the act of setting everything up and the lighting and trying to upload things which at my house takes a bit longer than usual. It’s not a big deal as I’ve learned to be creative about it, but there’s something so sad about it. I find that I’ve said No to a majority of the things. I mean, I want to help and when I can to do something for charity, but I find the physical act of doing these little things which can be and as they get slicker is a lot. A lot goes into it when you’re recording something as I did this week of two recordings in my closet. The whole technical process behind all of this is challenging. I have my own projects I’ve been working on – before all this started I wanted to learn more about video editing and I’m trying to set up a home studio for recording and I think it would be the safest way to do more and more of this from home. I’m going to come out of this with more skills, but we all have to remain prolific and creative. It’s hard and I feel bad that I can’t say yes to more things. I feel fragile during this time right now and I need to protect. Sometimes doing too many things isn’t the answer either. I miss the travel to different gigs, going to places and seeing people. 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? All my gigs were cancelled. I have a few in December, but I don’t know if they’re still going to happen. I have quite a few things next year and I hope they do happen. I was supposed to do two concerts in San Francisco in March. My March, April and May were packed with concerts and appearances. The morning before I left for San Francisco, I kept thinking to myself, ‘Are you sure this is going to happen?’. I was a little nervous about travelling but so excited to sing for people. It was a show I had done in New York, my tribute to women who have inspired me. It was called ‘A Hymn to Her’. I re-learned the show and was so excited to do it in San Francisco. When I fly, I don’t do internet, but I thought I’ll get internet for about an hour. So, about an hour into the flight to San Francisco, I received a text the concert was cancelled. My husband was with me and all these years I’ve been singing in San Francisco, he was never able to go with me. We landed and I thought, ‘Well, we can go into the city, it’s a really nice hotel, have a nice dinner and come home the next day.” And then I thought that it wasn’t a good idea, so we immediately flew home and took the red eye home. That was the last time we had flown. Our son had joined us at home about four days later and it was very, very strange. It felt like we were preparing for a storm when this pandemic was declared. I had some trips planned. I was working on album that’s going to take longer. I recorded a single, I’m going to record a Christmas single or two. I’m in the midst of having Christmas music all over the place. At the beginning of the year, I started working on my You Tube channel. I shoot a lot of videos and shoot music with my car videos. I wasn’t driving a lot during the pandemic but when I started driving Dan to his physical therapy after his car accident, well I’m back in the car. I’ve always sung in my car and thought it would be a hoot to film it since I’ve a new phone with a holder on the dash. The reaction was tremendous, and it was fun. I’ve about 12 songs called ‘Autotunes’. I’m really trying to make my You Tube channel a home for interesting content to shoot songs at home for fun, my car songs. It makes me happy, gives me a forum and creating content. It’s something I can do safely. Little goals like this are helpful. What have you been doing to keep yourself busy during this time? I’ve been caring for Dan since his accident and creating a lot of videos. I would love your viewers to check out my You Tube videos. I’ve been doing some question and answers. I haven’t really done teaching as of yet except one day things. I try to take a long walk everyday. I love to cook and have been really cooking a lot. With the days being so similar, it helps to have a new recipe and something new to eat. I’ve also been doing a bit of song writing, playing around and experimenting with writing and then probably drinking too much vodka. I was really happy when we had baseball for a short period of time. My husband and I are finding the shows we’re watching on tv are foreign: some French. There’s a Swedish one called ‘The Restaurant’. Watching things with subtitles, I feel like I go to another place. I also did one big live stream concert with Seth Rudetsky. I really want to do more recording, learning to do more recording at home, a Christmas single or two. On top of the pandemic and our lives being uprooted, we have the upcoming election, and I’m encouraging everyone, and I mean everyone, to get out there and vote. It is unspeakable what is happening in the United States. We don’t have any leadership, and we have a crazy person as our President now running our country and this is all so stressful and horrible as many people enable him. People know how I feel about things. I don’t usually tell people how to vote but, in this case, (and she sings from the song ‘Once Upon a December’…) “I’m urging you please vote blue on the 3rd of November.” I can’t be quiet on this issue. This is too important. Literally, our country and lives are at stake. What we do and what happens in the US affects everyone. This is a time when we should all be working together for the pandemic and climate change, everything. I can understand if people voted for Trump the first time. He fooled them, they wanted change. Maybe people didn’t like Hilary, whatever. He was very persuasive. But to re-elect him? Nope. That’s unacceptable. After what he’s done and all the things he said, I don’t understand. My hope is people will vote. To quote from ‘Singing in the Rain’ – “I can’t stand him”. My father was a well known, renowned television journalist in Chicago. He worked for PBS and had his own show. Our father never told us who he voted for. We knew who he voted for, but he didn’t tell us. My father had an amazing way about him. I do believe have the right to vote for who they want to, but in this case it’s just unspeakable about what has happened. I feel like I have to speak out. If through any of my songs or encouragement, if I’ve encouraged at least one person to vote who may have been uncertain whether to do it or not, then I will feel as if I’ve accomplished what I set out to do. 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? (Liz sighed before she answered) Oh, gosh, I feel for you guys [new grads]. In many ways, it has to be harder for them than for those of us who have been around. We’re all struggling to make a living. I do collect unemployment when I’ve not been hired to do something. I guess I would say this is a time to be entrepreneurial. That’s something I discovered in myself six years ago that I had this real entrepreneurial side. I’ve produced two albums, three singles and am really enjoying that side of me. You have to create your own work and find ways of being creative. Also, this is a good time to learn different skills. I do believe we are put on this earth to do many things not just theatre, not just music. We are to have many different careers, chapters, jobs. Ultimately all of these different chapters will make you a better actor and performer. Know you’re not alone. Even the successful people right now are wondering what are we going to do? Is this ever going to come back? I don’t have any real wisdom. I just send hugs to you and keep working. Keep acting, singing, dancing. I’m so impressed with dancers in their tiny apartments and they’re still doing their barre exercises. It helps to have goals and try to learn new things. Keep a journal. Sometimes writing your feelings down sometimes gets it out of your body. We just have to make the best of it. Do you see anything positive stemming from Covid 19? I will say that with all the protests, starting with the horrific and outrageous murder of George Floyd and the dialogue we have now, I don’t know if the pandemic had happened if there would have been such outrage and if people would have necessarily spoken up the way they have. Something positive coming out of this? The whole discussion of race and police brutality. If the pandemic hadn’t happened would people have taken to the streets and the occurring dialogue theatres have had with many groups? Would that have happened? I don’t know, it might have to a lesser degree, but I think we will make changes. It’s going to be hard, but I feel confident that this is our best shot. Part of what this pandemic has taught me is we only have this day. My husband’s accident has also taught me this as well. I’m savouring the little things and live each day for each day. Every day is a gift. Throughout all of this I’ve realized how much I love to sing. When I’ve been anxious, singing calms me down particularly if I’m in my car. It feels good. That’s a way of self care. Do you think Covid 19 will have some lasting impact on the Broadway/North American performing arts scene? It’s going to take quite a long time for Broadway to bounce back, but I do think it will. We almost need to have a vaccine that we know works. People have to take it. You can’t do Broadway financially with people 6 feet apart. It’s eye opening to look at the condition of the theatres running. My fear is it’s either all or nothing. It’ll really come back when it’s safe to have 1000 people in a theatre. That is heartbreaking because it’s not just the actors, but everyone from behind the scenes, the musicians, the ushers, the technical crew to the restaurants and businesses surrounding the theatres. I think regional theatres will have a better chance of bouncing back sooner. Maybe still having to do a combination. I feel for all the theatres and businesses as to how to make it work financially. God bless the people who contribute and help. Maybe there’s a way to do certain things in a smaller way. Unions and everyone will have to come together to figure out how to make it work financially. Something else that will come out of this is great art. The things that have come out of terrible times in history were some great art, great music, tremendous theatre. A lot will depend on this election looking at jobs now and in the future. For the future, and not just the arts, people are giving of their talents to people who need it. We need diversion right now. A lot of audience members really appreciate it and some who don’t realize the incredibly important role the arts play during the pandemic. 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? That’s been a real challenge in all of this. The concert I did with Seth was the only thing I’ve done where basically there was a price of $25.00 for it. So much of what we’ve been doing and what I’ve been doing is to raise money for The Actors’ Fund and Broadway Cares. You want to give and yet you still have to make a living. I think that is a challenge and dance we’re all dealing with. My sister does a wonderful concert series once a month from her home. It’s called ‘The Callaway Hideaway’. She can play the piano herself, so she has an advantage. But watching too much streaming? There is something emotional about it. Seeing something live is good but it also makes me sad. But streaming is something that we have right now. I miss the applause, the audience there. I put some of my stuffed animals around for an audience, but my cat, Lenny, is not terribly interested in my performances. Despite all this fraught tension, drama and confusion of the time, what is it about performing that Covid will never destroy for you? It can’t destroy the feeling of knowing in singing or acting that you’re giving or, as an audience member, receiving the love and the heart of everyone who performs. It’s a two-way street. It makes me appreciate singing even more. Covid can’t take away how you feel when you sing or when you’re in a play, and we are going to appreciate it even more the next time we gather together again. The audience and the performers are one. That’s the reason why we do what we do. My mantra: “Nothing to prove, only to share.” In the meantime when I did my live stream concert, I could feel the audience even though I couldn’t see them. We are all going through this, and I’m really lucky that I can sing. Singing makes me happy and makes other people happy to hear me sing. It’s a gift to give our music and a gift to receive other people’s music. No one can ever take away that gift. You can learn more about Liz Callaway by visiting her personal web page: www.lizcallaway.com . Visit Liz’s You Tube Channel and her social media handles Twitter/Instagram: @LizGoesOn. Previous Next

Back Bruce Dow The Self Isolated Artist Ian Brown Photography Joe Szekeres In my recent compiled profile, I wrote that Canadian playwright Norm Foster would be the kind of guy where you could sit down and discuss everything and anything with him over a few beers in a pub. I wouldn’t solve the world’s problems with him, but Norm just seems like the kind of guy to give a new slant, spin or take on seeing the world from another perspective. From this online interview with Bruce Dow, I learned he is the no holds barred, cuts straight through the crap stuff to get to the heart of the matter, kind of guy. So be strongly aware of this as you read what Bruce has to say. With Norm, I’d have a few beers. With Bruce, I’d have a few glasses of wine, just sit back and listen to him. Why? Because I believe that Bruce would do the same for someone whom he calls a friend. Bruce was a marvelously uproarious Pseudolus in ‘Forum’ when it played through Toronto’s Mirvish Productions. Bruce also appeared in one of the many casts of the famous (or infamous) ‘Les Miserables’. You’ll see from his first answer that he was appearing in previews for the musical based on ‘Diana, Princess of Wales’. This was one show in the Big Apple that I was hoping to get to see. I still hope the show doesn’t lose its momentum after we get out of all this. Thanks, Bruce, for this interview and for your time: 1. It has been just over two and a half months right now that we have been under this lockdown. From your Facebook page, I see you’re living in New York and that you are a member of the cast of ‘Diana’. Are you still in New York now or did you return home to Canada? How have you been doing during this period of isolation and quarantine? How is your immediate family doing? ‘Diana, a true musical story’ was in previews at the Longacre Theatre on Broadway. We were rehearsing in the afternoons and doing previews at night - less than ten days away from our Official Opening Night. When the announcement was made that Broadway was shutting down, I saw it as an opportunity to come back to Toronto to see my fiancé, friends and family. The Broadway League told us that we would only be shut down for three weeks. I assumed it would be longer - but I had no idea it would be this long. (It’s only been two and a half months? It feels like an eternity.) On March 31st, the entire company, crew, creative team and producers met online for a toast to what would have been our Official Opening Night. Over 70 people joined the Zoom chat. It hit me then that we were not going to be coming back to each other for a very long while. For the first month plus, because I was living with roommates (3 grown-ass middle-aged men in a 2 bedroom apartment - Me sleeping on a cot in the living room. #StillAm) and because my fiancé was living with his parents - we were in a form of quarantine, so I didn’t see him other than on FaceTime. My roommates are saints. None of us expected this. I can’t believe it’s only been two months. It feels like forever. In the last few weeks, we been able to meet while “social distancing” - and I’ve helped out around the in-laws garden a bit - always “social distancing”. Though I realize mine are 1st world, privileged problems… It’s been hard. Very hard. My roommates and my fiancé’s parents are all of an age where this shit could kill us. I have asthma and a tendency to bronchitis. If I get this disease, I’m gone. It’s not so much the fear of death as… the fear of losing a life I finally want to live. There are things I want to do. Ways I want to give and serve. That said - my understanding of the life I want to live has drastically changed - and perhaps, this whole “time out” has given me a great gift in the chance to reflect and grow. Still. It’s hard and it sucks. Really, really sucks - but not perhaps in the ways you might think. 2. Along with your work in ‘Diana’. were you involved in any side projects before the pandemic was declared and everything was shut down? Were you involved in the planning stages of any new projects? How has the cast of ‘Diana’ been doing for the most part during this lockdown? I can’t speak for any of the cast of ‘Diana’. We are in touch sporadically. Our producers and the creative team (the writers of the ®Tony Award Winning ‘Memphis’, and the creative team behind ‘Come From Away’) are very much committed to ensuring that ‘Diana’ will be among the shows on the rialto when Broadway re-opens. Everything else that I was working on before and during ‘Diana’ has come to a screeching halt. But, I’m also aware that I’m not feeling the same drive, so I’m not missing it. This “should” be the time for me to finish any number of projects. But, I’m not. And that feels healthy to me, right now. “Shoulds”, in my experience, never lead to healthy choices. 3. What has been the most difficult and/or challenging element of this period of isolation? So many things. I’m sure what I am feeling is similar to what many are feeling - a complete lack of focus and direction in life, with the added bonus of a near-complete lack of tangible options toward moving forward in life. I can’t do what I do - and I can’t find anything new to do. I say ‘near-complete’ because, believe me, I am digging in every corner of existence, trying to find my purpose and direction - I am digging so hard my fingernails are bleeding. And I am finding some very interesting things… none of which I would have expected. 4. What have all of you been doing to keep yourself busy during this time of lockdown? I am teaching online - a college level course in acting through song, and private lessons/coaching through my mini-company Dow Workshops. (https://brucedow.com/dow-workshops/) For a long time now, teaching has given me the greatest reward in my life. It is challenging, rewarding, daunting and fulfilling. That… and… aside from digging in corners till my fingers bleed, I have been getting out for walks when possible… eating and drinking too much… and sleeping too little. (My cot is not comfortable, and my body is old.) As for “Creativity”? I am not feeling remotely creative. So, I am not pushing myself. I find there are some folks who are feeling the creative bug - that’s wonderful! Then there are some not feeling creative - that’s also wonderful! What I fear is the toxicity I am witnessing in some who are feeling compelled to be creative when they are not feeling it innately. It’s a part of our art that scares me and disgusts me - It’s that toxic “the show must go on!” even when everything in your heart (and the universe) is telling you to stop. pause. reflect. rest. 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? In context with what I’ve said above: No one should lose sight of your dreams. BUT - the universe is telling you to pause and reflect. Now is the time to ask yourself WHY you have these dreams and to ask yourself, “are these dreams healthy for me?” Are they feeding me, or are they poisoning me? Do they come from a positive, forward moving energy - “I want to explore and give” - or do they come from a wound, a need, an emptiness - “I need attention and validation.” One kind of dream is healthy. The other can actually prevent you from growing and healing, and can end up hurting you very deeply. (The one’s who need to read that will either feel a sigh of relief, or they will be thrown into a panic. Don’t panic. Choose the sigh. Breathe - always.) 6. Do you see anything positive stemming from this pandemic? Our world has been a train wreck for a long time. Our art has been reflecting the world’s panic in both healthy and unhealthy ways. Calling attention to our individual stories has been of vital importance. There have been some astounding conversations in our art of late. (We can see how the United States has ignored, glossed over, and sugar-coated its stories for far too long, and now the country is imploding.) On the other end of the spectrum, some wounds have been weaponized - embracing a confrontational politics - as a child having a screaming tantrum with its thumbs firmly stuck in its ears. No conversation can be had. We are going to need truly inclusive stories coming out of this. The narcissism of Instagram and Facebook and Twitter (guilty as charged!) and our knee-jerk desire to fix the wrongs of the world with a clever quip and a click-of-support have proved insufficient. Our desire to scream of our differences has been healthy and necessary, but I don’t see it as a means to an end. I’m hopeful that, if we are able to survive this “pause”, we will be able to think more broadly and more inclusively than ever before. 7. In your estimation and informed opinion, will the North American/Canadian performing arts scene somehow be changed or impacted as a result of COVID – 19? Uhm. Yeah. There will be no live performance with anything resembling a full-house or a “live” audience until there is either a vaccine or a successful treatment. We saw what SARS did to Toronto - It took years to recover from that. And back then, we only shut down for two weeks. Two things will probably occur: a. People will need to rebuild their financial situations to a level where they have disposable income to spend on things like theatre - OR - we will have to find another funding process, yet unimagined. b. People will have to rebuild their confidence in sitting in close proximity to a stranger so that they will feel safe on a plane or in a theatre seat. So - if we can’t come up with a clear cure/vaccine - and/or if we can’t come up with an entirely new financial model - and/or if we can’t find a new form of spatial relationship with our audiences - We will not be coming back for a long, long time. Guessing 12-18 months or longer. Most likely if SARS is the model - 2 or more years. In terms of content in art: I feel we must shift the conversation from its present focus on individuation and confrontational politics and find a place where we can share our differences and grievances in a healthier way - and I believe that place is much further down the road than our present position. But… Inclusivity - if that’s the right word. We need to find a place where we can recognize our mutual humanity while in no way diminishing one another and where we can accept/embrace the responsibility we have to each other. If we can’t talk to each other, we can’t learn and grow. It may mean we may not get to have our full conversations the way we want to have them at this point. And that’s going to be hard for a lot of us. But, I believe we will be able to have those conversations in a richer and deeper sense further down the road, even though, right now, we may need to jump ahead for a moment - We will need healing after this. A lot of healing. We aren’t talking about our dead right now in anything more than numbers. We are gonna have to talk about our dead -Birth and death are the two things we all have in common. Our awareness of them is what makes us human. We will have to talk about that - but, in a new light . 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 ALL performance is great and necessary! As for how it’s being accomplished online: we are working out the kinks! Look at the first strips of film from the birth of cinema… it’s an imaginative mess! That’s where we are right now with online work. Filmed versions of stage productions are noble and beautiful - but they still kinda suck. Online readings and creations are proving successful in “what they are” - but they still kinda suck. But that’s why we have to keep trying! How can we make online versions of stage productions more engaging? What is the actual online experience as different from the theatre or the cinema or the lecture hall? - We don’t yet know! SO - Keep playing and making mistakes and making glorious messes! That said - there is a toxic trap online of which each artist must become aware, and upon which they must reflect before engaging. Unfortunately, you can see a fair amount of desperation in some of the work online right now. While it is par for this unknown course, that desperation can take an individual and personal toll on the artist. Intuitively, I set myself some rules: I have participated when asked - and I’ve felt it’s “right for me, right now”. I have turned down some offers - because they didn’t feel right. I even accepted one very prestigious offer, only to decline it recently, because I wasn’t feeling it. Right now, as a creative person (I know that’s who and what I am) -who is NOT feeling creative - I feel it is my purpose to be a voice against the panic. Creative is me. I do not have to create constantly for that to be true. I am trying to avoid the endless cries of the bottomless abyss (the internet) as it screams to be satiated. The internet will always need more and more content. I cannot fulfill its needs. But I also know I cannot fulfill my needs through the acquisition of “hits” and “likes”. So, my philosophy: If you’ve got it? If you’re feeling it? Flaunt it! Bravo! Explore content creation! - but expect no glory till, perhaps, long after the fact. (and even then!) If you’re not feeling it? - even though you know you’ve got it - If you wanna sit in a corner and stare at the wall? Choose that! Choose your mental and spiritual health over the constant cries from the internet in its unending quest to be satisfied. Stop. Pause. Reflect. REST. 9. What is it about performing you still love given all the change, the confusion and the drama surrounding Covid? I’m not loving performing right now - and I’m okay with that. I have taped a couple of self-tape auditions, and it was nice to dip my toe. I’m good. I’ve still got it. (I just don’t want it right now.) I have recorded a couple of songs for various church services and events for friends of mine. I still love to sing. But I don’t have to do either in front of an audience to feel valid and whole right now. I guess that’s what I’m learning - about myself. As for the confusion and drama? I’ve had enough of that bullshit in my life and my work! (meaning every good family and every good play is full of ‘confusion and drama’) I’m very tired of the drama we manufacture for ourselves, for our lives - Most of our life drama is manufactured. Very little of it is real. This Covid thing is REAL. Drop you own drama - (‘cause really? aren’t you bored with it yet? I’m bored of mine!)- and deal with what is real, right now. Food. Shelter. Family/Friends. Live what’s real… 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? lesbian. (seriously. it just feels so great to say it. its origins are amazing, and it means something beautiful!) b. What is your least favourite word? Right now? “Creativity.” (fuck off, “creativity”) c. What turns you on? The idea that there is something huge happening right now. Lives can and will be changed - for better and worse. We are being shaken by the scruff of the neck. d. What turns you off? Anger - might sound funny after this - I know text has no tone of voice, but none of the above is said in anger… just in fatigue… with a wistful smile. Anger is always pointed at the wrong people, at the wrong time, and is delivered in the worst possible way. e. What sound or noise do you love? Laughter. (dull answer, but joyously true…) f. What sound or noise bothers you? Construction. (It’s not ‘progress’) g. What is your favourite curse word? FUCK h. What profession, other than your own, would you have liked to attempt? That’s for me to know and you to find out - and why is this question in the past tense? I very well may yet change professions. i. What profession would you not like to do? Anything that isn’t real. I want dirt and sweat on my skin and in my nostrils. I want ideas to circulate my brain. I want healing and sharing. I don’t want anything to do with “hits” on my “page” (He says, scrolling through his Twitter with the other hand… but, seriously, the internet is toxic AF these days) j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You tried.” I can’t reflect on my life and expect him to say, “you tried your best”. I know I haven’t. But, I know I have tried. To be responsible. To be honourable. To make amends. To help find peace for those I meet. To learn more about Bruce, visit his website: www.brucedow.com . Previous Next

Back 'The Script Tease Project' performed by Matt Baram and Naomi Snieckus Now onstage at 180 Shaw Street, Small World Arts-Centre, Artscape Young Place Now onstage at 180 Shaw Street, Small World Arts-Centre, Artscape Young Place Joe Szekeres When Matt Baram and Naomi Snieckus are in charge, improvisation can be a hell of a lot of fun. ‘The Script Tease Project’s’ premise is simple. Performers Matt Baram and Naomi Snieckus ask a Canadian playwright to pen the first two pages of a script that will probably not see the light of day. Baram and Snieckus elicit responses to specific questions to help focus the story. These suggestions will somehow be incorporated into the improvisation the audience is about to see. Finally, the two of them read the script before us, the houselights go down, and the performance begins. There is no further audience input. As a former community theatre actor, I’ve always found improvisation one of the most challenging dramatic techniques. Teaching improvisation was equally challenging. When I taught Dramatic Arts way long ago in a high school setting (for two years), improvisation was the hardest to utilize within a classroom of rowdy teenagers who were hell-bent on wanting to sound like the latest comedian. Even after repeated explanations of the purpose of improvisation, it just didn’t seem to click with young people. I don’t know how Baram and Snieckus do it. They may make improvisation look easy on the stage; it’s not, but it was a hell of a lot of fun watching the two of them for nearly just over an hour. They are well-trained in improvisation. One-line quips and zingers are flung back and forth at each other, but never in the style of stand-up comics. There was always a purpose behind what they were saying or doing. Canadian playwright George F. Walker penned the two-page plus script the night I attended. The story deals with two siblings whose parents make a suicide pact. And off it went from there sometimes to the bizarre, the hilarious, and a bit on the poignant side. Through it all, Baram and Snieckus remained in solid synchronicity with each other. Even when the audience experienced fits of laughter, the two of them held their focus on each other, paused when necessary so the audience wouldn’t miss any dialogue, and pressed further on in telling the story. Seann Murray’s Sound and Tech Designs sometimes added to the scene's hilarity. One occurred with the wandering spotlight. Final Comment: Just a reminder that Baram and Snieckus never give the same performance each night. Their performance improvisation is different once they read the script and have a few minutes to compose themselves before they launch into their work. And I was so pleased I had the chance to see them at work. And you should also go to see them at work too. ‘The Script Tease Project’ runs until September 22 at Small World Arts-Centre, Artscape Young Place, 180 Shaw Street, Toronto. For tickets: https://www.eventbrite.ca/e/the-script-tease-project-tickets-684275425217?aff=oddtdtcreator&fbclid=IwAR3nqPTP-k6bC7lH1wHLaS0IRlgjfiBitCNLWt6w_ElrV3Uwy-bIqgUyp4o Previous Next

Back Sarah Orenstein Looking Ahead Howard J Davis-Haui. Joe Szekeres Sarah Orenstein’s extensive and impressive resume caught my attention. I saw her work in ‘Oslo’ and a simply fine production of one of my favourite scripts ‘God of Carnage’ through the Mirvish series – a fascinating play with tremendously talented artists who soared that performance high. We shared some good laughs while I listened to Sarah’s at times candid and frank responses. Born in Halifax into a well-known local arts family, her mother an actress, father a visual artist, Sarah began her own professional career at five years old. She is a familiar face on stages across Canada. She studied at the Vancouver Playhouse Acting School. By email, Sarah stated it was a “fantastic institution. Short lived, but amazing group of artists came out of it.” Veteran of The Shaw Festival (13 seasons) and The Stratford Festival (6 seasons), Sarah has starred in ‘Possible World’, ‘Heartbreak House’, ‘The Millionairess’, ‘Shakespeare in Love’, and ‘Playboy of the Western World’. She makes frequent appearances on Toronto stages, most recently in ‘The Normal Heart’ (Studio 180 /Mirvish) ‘The Message’ (Tarragon). She is thrice nominated for Dora Mavor Moore awards for her work in ‘The Retreat’, ‘The Hope Slide’ and ‘The Collected Works of Billy the Kid’ and won for her roles in ‘Patience’, ‘After Akhmatova’ and ‘Scorched’. She won the Capitol Theatre Award for ‘The Doll's House’. Other favorites are ‘My Name is Asher Lev’(HGJT) and ‘The Glass Menagerie’ (Grand Theatre, London, Ontario) Sarah is committed to development of new Canadian works over the decades and giving her time as script dramaturg and actor in writing workshops in Vancouver, Banff, and Toronto. Recently, Sarah starred in the independent feature film ‘Albatross’ and co-stars in Incendo's ‘You May Kiss the Bridesmaid’. She is currently filming Paramount's ‘Station Eleven’. She makes her home in Toronto with her husband, actor Ric Waugh. We conducted our interview via Zoom. Thank you for adding your voice to the discussion, Sarah: 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. I would say utterly. Not to be overly dramatic, but my new mantra is ‘I don’t actually know anything about anything anymore’. I used to think I knew things, and I don’t know anything about anything. I grew up in the theatre (my first gig was at Halifax’s Neptune when I was five). I grew up in a family that worked in the theatre so it’s where I went after school instead of babysitters and waited for my mother if she was at a rehearsal before we went home. I’ve been lucky enough that I’ve worked in theatre all my life. I think this is the longest time (aside from finishing grade school) that I’ve been not involved in a production of some sort at same level. I only took a year out when I had my children, and this pandemic has made things longer. So, it’s a bit like walking around in an alien world. I don’t understand myself without that. It’s been a time of huge reflection, some days great and some days not, sometimes I’m quite philosophical about it but it is a little bit of going, “Well, who is Sarah when she’s not in the theatre?” I don’t have an answer for that yet. I was going so full tilt with a very heavy schedule, not just acting but doing some assistant directing and script work that it really took a while to realize that I felt quite lost. Now that doesn’t mean I don’t love my life and my family and there’s always stuff as I keep very, very busy. Personally, it has been incredibly challenging to re-define myself, I suppose. That’s the long answer. (and Sarah and I share a good laugh) I’ve been very lucky as I’ve also been doing some filming so it’s not that I’ve been without work. 98% of my work is in theatre. I’ve quite enjoyed the filming and I’ve been involved with some Zoom readings and some Zoom script work. Every time I do it, I enjoy the connection, but it doesn’t replace it. 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? I will say I feel it is yet to be revealed. Truly. I know absolutely that theatre will come back. It’s just who we are as human creatures – we need it. It’s how we tell stories and we’ve always done it in some version, and we always will. Theatre can’t be replaced digitally because it is a very different experience for the audience, and what society and humans get from going to the theatre with that hope of being transformed and carrying away, in the best cases, we’ve placed a little flame or little idea in everybody who has agreed to come together to be transformed. And then you take it away and people process it as they do, sometimes immediately, sometimes it takes years, and we still say that story stays with us. Why does it? In that sense, I do know that theatre will always be. But because of the shuttering stoppage, it’s like stopping an ocean liner in the middle of the ocean, that start up is going to be a little messy. I don’t think everyone will come back. Some people will do it of their own choice, some will not. Some theatres won’t be able to come back. I worry about some of the smaller theatres, but I hope they do. There will probably be a few lean years in the start up again. But my hopeful side is that change is in the air. Change is always good; it is also very scary. The particularities of that change, I think we can guess that some of them will lie in the opening of walls which is always good for art, inclusionary practices but not just with the faces on the stage but right up to the administration. I think some of that was starting before the pandemic hit, but it’s really sharpened the pencil on that. All of the arts, including theatre, love to be on the van guard of society must change so, goddamn it, so are we. I imagine there will be some missteps and some mistakes in moving forward, but I think in the end it will give us a lot more richness but there’s certainly going to be some rough times in getting everything up. I’ve been lucky enough, and I don’t mean decision wise, but to be involved in a lot of the conversations towards what Stratford is doing. I imagine all theatre people everywhere who are responsible to keep the institutions going, when I hear how exhausted they are by how many white boards they have made, erased them, started again, and erased again, and wiped and redone. The spirit is very alive to open the arms of theatre to all of the social changes that must be addressed but also with that desperate awareness of how hard it is to pay the bills on a theatre. I am full of hope. When everything is up and running, I know in the theatre we will have some rough times. I think it’s a brave act of hope with every shortened production, smaller casts, being outside. A brave act of hope. As a professional artist, what are you missing the most about the live theatre industry? Every single part of it because I’ve been around it so much all of my life. I miss the buildings. Of course, I miss the people. I miss the rhythms of rehearsal, that’s my calendar usually. I miss the collaborative and the collective way of living because every single show has its own set of problems that you come together to solve to tell the story, whether full production or just a reading. When I think of it, I truly miss everything, I miss sitting inside empty auditoriums before everything is happening. And why is that? I think it harkens back to when I was a kid and wait for my mom to be done work, and I’d sit at the back waiting, and there’s a certain sound and a certain air, a theatre that’s not ready for the public yet. I miss the tannoy being turned on and hearing the audience talking and mumbling. 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 think it will be how much I need other people to tap into my own creativity. I suspected it, but I didn’t realize how deep that symbiotic relationship was. Describe one element you hope has changed concerning the live theatre industry. So much has been happening with change right now over this last year. This has been part of my awareness since I was young because I am a woman in the industry. And I’m not even going to say that I’ve been particularly or poorly treated in a certain kind of instance, but I’m always looking for and hoping for more women in directing and, therefore, that leads to artistic directorship, not as a replacement but it’s not equitable, and there are very different stories that will come out. I’ve joked with my very dear, dear friend David Fox (he’s older than me) that over our careers of working together that I’ve played his daughter. I’ve moved on to play his wife. We keep pretending if I’m ever going to play his mother. It has something to do with the seven ages of women are yet to be truly explored. I don’t want to discount some of the roles that are out there for women because it is part of society, but they start tapering off because you can’t be the love interest. More women in writing, directing, and at the artistic directorship level, please, so that we can explore the female stories later in life without it just being Grandma making something in the kitchen. Explain what specifically you believe you must still accomplish within the industry. That is the hardest question you gave me to think about before our conversation today. The flip thing is I wouldn’t mind a fantastic run in a show that I’m a lead in that’s an amazing Tony award winning, writing piece of Broadway or the West End. That would be nice (and Sarah makes this wide grin that makes me laugh) On a serious note, I just want to work for as long as I want to work AND as late in life as I want to work. 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 a theatre goer yourself. I will elaborate. I do not think this will happen. (and Sarah emphasizes each of these words) I don’t, at least I hope it won’t. We are so tired of it all. Everybody’s home is a 12 act play on experiencing Covid personally. It’s not to ignore it, but personally I would not be rushing to theatre to see shows that I know are someone working through how they lived through Covid. That being said, I think it is undeniably part of the fabric of any story that is written from here on. I don’t think we need to shoehorn it into every re-staging of ‘Taming of the Shrew’ or something. I think anything written from now on, even if it’s not a central theme, it will have to refer to that time, or where you were, or what happened to you, or what crazy psychological thing that character is wandering around, in the same way that wars have done that or political movement or any kind of trauma. A lot of people are getting through this pretty good. Depends on who you talk to. Some are messed up, some aren’t. We also recognize how lucky we are if we’re able to hold on to your stuff and not have to sell anything and figure something out. In the best case, this time of Covid will become fodder for good writers to find another universality for us as humans. If a writer gets the right idea of what Covid and the pandemic shutdown, loss and the mismanagement and what it has done to society, that kind of theme if it finds it way into some real psychological drama, that would be interesting to see. I want to stop talking about Covid when this is all over. As an artist, what specifically is it about your work that you want future audiences to remember about you? Oh, you’re wicked…. (and we share a good laugh again) Let’s hope they find my work fahhhhhhbbbbuuuullloouussss. (and another good laugh) Okay, if I’m going to be good and serious, I would say I hope that the people, because I do a lot of mentoring and coaching, I’ve worked with whether they’re actors or from other departments of the theatre, remember me as someone who delved deep into the work with them, but also helped pass on the trade. I really believe in that. I come from a family of creatives and different aspects. One of my sisters is in textiles, costumes, and designs. We talk about we find it interesting that we are at the point of our careers where we are really passing on the trade, without formally teaching in a classroom which is also good. Acting is a trade. The best way to teach someone is to do it in front of them and have a little conversation about why that is tricky over there. I’d like to be remembered that way by my fellow workers. I just hope audiences, even if it’s not remembering me, I hope my work resonated enough that they remember a moment on stage, a scene, a play. (I can attest at this point Sarah is correct as ‘God of Carnage’ at the Panasonic Theatre was astoundingly good.) Previous Next

Back Shauna Thompson “It is important to make ‘Bad Roads’ accessible to Canadian audiences while maintaining the integrity of the script’s Ukrainian roots.” Joe Szekeres Artist Shauna Thompson is a multi-disciplinary artist. I’ve had the opportunity to catch some of her work on stage. She opens this month in ‘Bad Roads’ at Crow’s Theatre with quite an extraordinary cast and dedicated crew led by director Andrew Kushnir. Thompson completed her formal acting training at Montréal’s National Theatre School. She also took as many acting classes as she could fit into her schedule at Guelph University prior to attending the National, but she was not a theatre major. From the Factory Theatre website: “She’s played Romeo in Repercussion Theatre’s ‘Romeo and Juliet: Love is Love; she’s also performed in three seasons at the Shaw (‘Man and Superman’; ‘Victory’; ‘The Devil’s Disciple’ etc.) and has also appeared in several world premiere productions including George F. Walker’s ‘Orphans for the Czar,’ Michael Ross Albert’s ‘Beautiful Renegades’ and Paolo Santalucia’s ‘Prodigal.’ She also appeared in ‘Vierge’ at Factory. I connected with Shauna via email as she was smack dab into rehearsals for ‘Bad Roads.’ First, she told me she’s excited to be back in the theatre as it feels like coming home. She has made great reconnections with her fellow arts workers and audiences. When I saw the cast list for ‘Bad Roads,’ I could just sense how much excitement has been building for the production. I had the opportunity to profile Director Andrew Kushnir during the pandemic. Just this past summer, I also saw his ‘Casey and Diana’ at Stratford, which left me bereft of emotion. I’m expecting ‘Bad Roads’ to do the same. Shauna feels very lucky to be sharing the space with those involved on the stage and behind the scenes: “Everyone attached to this production has brought a ton of care, compassion, joy, vulnerability, thoughtfulness, and passion to the rehearsal process. Everything that makes for a great work environment and even better theatre.” Crow’s Theatre website provides information about this North American premiere: “In the Donbas region of Ukraine, a war is raging, and people want to understand why. Based on astonishing testimonies from the outset of Russia’s invasion of Ukraine in 2014, BAD ROADS explores the heartbreaking effects of conflict on intimate relationships and a country’s social fabric. Ukrainian playwright Natal’ya Vorozhbit deftly intertwines themes of love, sex, trauma, loss, and resistance through powerful and darkly comic episodes exploring, most of all, what it is to be a woman in wartime.” Thompson hopes that more than anything, audiences are moved by the immediacy of ‘Bad Roads’. It’s not a history or dystopian play. She says of the play: “This is now,” as stories such as the ones depicted in this piece are happening today. From her perspective, she sees Andrew’s vision for the play rooted in the relationships between the characters but with a very focused understanding of Ukrainian culture, language, and history. She also adds: “The chosen words in this translated version of the text will always come across differently depending on where and who is involved in the production because how people communicate with one another is influenced by how and where they were raised. So, it was important to make it accessible to Canadian audiences while maintaining the integrity of the show’s Ukrainian roots.” The show is broken into six episodes that present characters navigating loss, love, old and new varying relationship dynamics, and challenging decision-making, all in the context of an ongoing war in Ukraine. While the play is set and focuses on the war, Thompson says the subject matter stretches beyond those borders, especially today. She plays three very different characters: a teenage girl, an army medic and a young woman looking to right a wrong before the start of the war. Kushnir’s vision has enhanced her involvement because he continually offered vital insight and knowledge that only someone with a direct connection to both Canada and Ukraine could offer. He has been the vital bridge to both worlds that this production requires. She’s appreciative of this opportunity to present this story. This invitation has allowed her to explore and perform in a way that she feels like she’s contributing to the extension of that vital bridge. What’s next for Shauna once ‘Bad Roads’ completes its run? She’ll work on ‘Rockabye’, a co-production between ARC (Actors Repertory Company) and Factory Theatre. Well, another play features an exciting cast and crew led by ARC Artistic Director/Capitol Artistic Director (and director of ‘Rockabye’) Rob Kempson. Stay tuned for more information about ‘Rockabye’, which runs from January 26 to February 11, 2024, at Factory Theatre. ‘Bad Roads’ runs November 10-November 26 at Crow’s Theatre, 345 Carlaw Avenue. For tickets and other information, visit crowtheatre.com. Previous Next

Back 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Now onstage at The Theatre Centre Alex McKeown Dave Rabjohn Art imitates life imitates art. An extraordinary example of this adage is now playing at the Theatre Centre in Toronto. ‘First Métis Man of Odesa’ by Matthew MacKenzie and Mariya Khomutova is produced by Punctuate! Theatre and The Theatre Centre. A true tale of love, marriage and family is told by the very couple themselves – the very couple who both wrote the play and performed the play. To publicly bare your own life and soul – its pain and its hope is a remarkable achievement. Matthew MacKenzie, artistic director of Punctuate!Theatre, travels to Odesa for some theatre workshops. He meets Mariya Khomutova, an actor from Kiev, and they slowly fall in love. Their relationship grows even among the most dire worldly events including the covid pandemic and the brutal attack by Russia. In spite of this and the fact that they come from opposite sides of the globe, Mariya becomes pregnant, they marry in Odesa and somehow they get to Canada to start a new life. This is a tale of contrasts which includes the pain of guilt and shame, and the hope of love. The strength of this production comes not only from the authenticity of the story but also from the very genuine performances of Mr. MacKenzie and Ms. Khomutova. Reinforcing the emotions of the play is the creative lighting and projection design of Amelia Scott. Mr. MacKenzie appears timorous and apprehensive in the beginning. This was not a weakness – he became charming. His constant questioning of decisions and fate becomes integral to their relationship. His halting manner and dry humour draw the audience in. He is often so deadpan that the poor pan never had a chance. Ms. Khomutova is equally charming, but her power comes through in the darker moments of the story. Her pain is, again, genuine – to relive an actual agony in front of an audience takes both strength and talent. The writing reflects the yin and yang of life’s humour and tragedy. Hilarious references such as a Kelsey Grammar forehead or the origins of Boston (not) Pizza contrast with the horrors of the pandemic and the war. The contrasts in their personalities include his pragmatism against her romantic side. She prefers the classics compared to his passion for more contemporary works. Her momentary contempt for the very work they are performing is a brutally dark juncture in the play. Two brilliant soliloquies in the second half of the play were astounding as they dug deep into each of their tortured moments. As mentioned, the work of Amelia Scott and her projection design was stirring. Her images were not a subtle echo of the story. They were full-throated blasts of energy that both moved the story along and reminded us of the horror and the beauty of the narrative. Images included striking northern lights, looming clouds of war, and a frightening floor of blood. An image of light moving up or down was a simplistic, but powerful reminder of airplanes leaving or landing. Again, the contrasts of war and peace, life and romance or the clashes of cultures made this work robust and potent. However, the true strength of ‘First Metis of Odesa’ was the courage of this creative pair to share, without dilution, their pain and joy. ‘First Métis Man of Odesa’ by Matthew MacKenzie and Mariya Khomutova Performers: Matthew MacKenzie and Mariya Khomutova Director: Lianna Makuch Production Design: Daniela Masellis Projection Design: Amelia Scott Performances run through April 8, 2023. Tickets: theatrecentre.org Previous Next

Back Patrick Galligan Moving Forward Tim Leyes Joe Szekeres Just like his wife, performer Brenda Robins who was interviewed earlier for this series, I’ve also seen Patrick Galligan’s work on stage many times. The first time I saw him on stage was in Soulpepper’s extraordinary production of its annual ‘A Christmas Carol’ where Patrick played Scrooge’s nephew, Fred, who invites the miser to Christmas dinner with a “Bah! Humbug!” in response. Recently Patrick was part of a truly fascinating production of ‘Oslo’ by Studio 180 at the Panasonic Theatre. Patrick has made many television appearances. Two were in ‘Republic of Doyle’ (another personal favourite) and Murdoch Mysteries. One of my goals as a reviewer for On Stage is to ensure there is coverage for the blog at The Shaw Festival. Even though I have yet to review productions at Shaw for On Stage, I’ve read about Patrick’s solid performance work in many of the productions there. Thank you, Patrick, for taking the time to answer questions via email: 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? It sure has. I moved from Niagara-on-the-Lake, where I was in rehearsals for my 17th season at The Shaw Festival, back to my home in Toronto. As a result, my wife, son, and our two cats have had to put up with me being around all spring and summer. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? We were a week away from our first preview of “Charley’s Aunt”, the opening show of Shaw’s 2020 season, and about to start rehearsals of Alice Childress’s “Trouble in Mind” at the time of the shutdown. Describe the most challenging element or moment of the isolation period for you. Did this element or moment significantly impact how you and your immediate family are living your lives today? The abrupt halt of putting on a couple of really good plays was a big challenge. I love the work of a theatre actor and I miss it terribly. Without it, there are times when I feel lost, at sea. On those days, my family is likely wondering if I will ever get out of my pajamas. 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? Fortunately, the Shaw Festival has insurance which has enabled them (with the help of the federal government) to keep us employed until the end of August. It has been a lifesaver in many ways: financially obviously, but also the opportunity to help create on-line content and to have the benefit of some much-needed training. Once that ends…………. 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 thought it was tough to find work when I came out of theatre school thirty-two years ago, but I can’t imagine all of the challenges facing recent performing arts graduates, or artists trying to support a young family. The advice I would offer is really the same thing I try to remind myself: be patient, stay positive, read, exercise and stay connected to the people who inspire you and whom you can inspire. Do you see anything positive stemming from this pandemic? I have been able to spend more time with my family. There is no way to overstate what a joy, that is. In your informed opinion, will the Canadian, Broadway and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? Without question. Gathering together in large groups to experience the performing arts will no longer be the norm. It will take a very long time before we can sit in a crowded hall and feel safe. 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? It’s not ideal to be sure, but I’m okay with it. We’ve done a fair bit of live streaming with Shaw since the shutdown, and I’ve found that there is a great deal that is lost in not being in the same room together. But since it is a safe way to share stories and experiences, I expect there will be a lot more to come. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? Steve Earle says that empathy is at the heart of being an artist. I love the possibility that, as an actor, I might be able to create a little more empathy and compassion in this crazy world. 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? Yes b. What is your least favourite word? No c. What turns you on? Joy d. What turns you off? Pain e. What sound or noise do you love? Laughter, and a super funky bass line f. What sound or noise bothers you? That high-pitched whine our 14-year old Toyota makes, which one day I know is going to be very expensive. g. What is your favourite curse word? Goddammit! h. What profession, other than your own, would you have liked to attempt? Carpenter i. What profession would you not like to do? Garbage collector – those people are heroes j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Welcome, Pat. There are some special people here I’m sure you’ll want to see. By the way, rehearsals start at 10am tomorrow.” Previous Next

Back Jilly Hanson Canadian Chat Ian Brown Joe Szekeres It was nice to chat with Jilly Hanson over Zoom this afternoon. Like many of the artists to whom I’ve spoken, the pandemic and its aftermath sent her into a tailspin; however, she is slowly emerging and doing her best as we all are. Just hearing some of the things she would like to accomplish in her career made me think she is going to be one busy lady. You’ll see from some of her answers just how committed she is. I admire her tenacity to pursue these goals. Jilly is also playing the title role in ‘Miss Bennet: Christmas at Pemberley” through Theatre New Brunswick. I’ve included information at the conclusion of her profile. Thank you so much for taking the time, Jilly: Could you share the names of one teacher and one mentor for whom you are thankful. A teacher I had in high school, Will Davidson, was my Music teacher and Band Director for all four years of high school. He was really super supportive; the last little bit of high school I was going through a lot of personal stuff, and Will was really understanding. Will is probably one of the only people outside of my immediate family who actually was asking me how I was doing and was interested. That always meant a lot to me. Will was really supportive with me pursuing theatre and the arts for my career. I did my Co-op placement with his class in Grade 12 because I wanted to spend a lot of time absorbing his energy and attitude. For a mentor, I don’t know if she knows this but I call her my mentor – a professor I had when I went to St. Thomas University, in Fredericton. She was the head of the Drama Department - Ilkay Silk. She is a fantastic human being. She was also really supportive. I didn’t audition for Theatre St. Thomas my first year, but I did second year. We produced Caryl Churchill’s ‘Top Girls’, an intense show. Ilkay took a chance on me and saw something in me, I guess. I had her as a teacher in my third year for a Drama Production class. In my fourth year, I auditioned for a number of schools across America at one time for theatre/performing arts. I was really nervous but she helped me choose monologues and helped workshop them with me. 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 months on a personal level? How have you been changed or transformed on a personal level? Hmmm…it hasn’t always been sunshine and daisies for sure especially in the beginning of things. There were some really dark moments in my brain. It was around early April and there was a televised announcement with the Premier and the Chief Medical Officer in New Brunswick where they announced no more events for the rest of 2020. I thought well there goes my job and any chance of continuing as a performer was really hard to accept as it was just taken away from me. I did get a chance to sit with myself. Sometimes that wasn’t easy to do but I’ve grown to know myself better as a person and how I navigate the world and what is important to me and what I didn’t need. I’m sure I’m not the only person who felt these dark moments and realizations of the last year and a half. I turned 29 during the pandemic and I also moved back home. I was living in my high school bedroom that I had stayed at for just a short time in the move between finishing theatre school and moving to Toronto. Not that I didn’t enjoy being at home, but I was thinking that I’m almost 30 and still living at home and was having a retrospective of how far I’ve come, where I want to go and what I value. The world was changing on a dime so there was a lot of self reflection and self learning about other people, other cultures. As cheesy and cliched as it sounds, it really was a learning opportunity for me. No more pandemics ever again. No!!! I’m very grateful for the technology we had during the pandemic for meetings and read news reports and what’s going on socially. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? The personal and the professional side go hand in hand for me. It was really hard because I was going down this terrible line spiral of “Oh, I’m never going to perform again, there will be not theatre.” I felt as if I had wasted how many years of studying something that I’m never going to be able to do ever again which obviously was very dramatic of me to think about now (and Jilly has a good laugh about it). I really came to realize how much theatre and acting mean to me. I said this to a couple of people and it does sound very, very dramatic but I felt as if I had lost somebody; there was this emptiness within my person at the thought of not being able to perform or be on stage again. I had always known that I wanted to be an actor and this is something I’ve always wanted to do, but I guess I hadn’t realized how much it had meant to me. This is probably the biggest discovery I’ve made about myself. This is what I want to do. This is my life. This means so much. I’ve put so much of myself into studying, learning and performing. It is who I am and not having that opportunity to do it has made me think of “Who am I and what am I supposed to do?” At the same time, once the libraries were able to be open again, I was able to consume texts and books. We don’t have a huge selection of plays here in New Brunswick in the library, but I was reading a lot and watching movies cementing that this is what I want to do. This is what I love. I also tried writing out scripts through play writing because why not? I have the time. What I want to do in a few years time is to start a theatre company in my hometown so I was able to sit with that thought and consider what to do and how, as a producer, do I begin that and where do I want to start. What are the practical aspects to starting and planning out my future. In your professional opinion, how do you see the global landscape of professional theatre changing, adapting, and morphing as a result of these last 18 months? Definitely accessibility for sure. Being able to live stream productions for people who aren’t able to be there in person. Yes, streaming isn’t the same as being in the theatre but at least there is that option for friends and family of artists to watch. And yes, there were professional performances being streamed from all over the world from The Globe in London, England, the National in England. We wouldn’t get a chance to see these productions in North America. There were operas too. Professional theatre companies were letting the masses see these productions and it was explosive. Streaming did allow for some artists to be paid. It also allowed some to try watching live theatre for the first time (even though it’s not really live since there is no communal gathering). I understand where some artists are coming from when they say streamed theatre is not live theatre. As an actor myself, I would prefer to be in person in a communal gathering in a room. Zoom plays do allow us to work with people from all over the world, yes, but it’s definitely it’s not the same as being able to react off your scene partner or to hear responses from the audience. When you’re hearing a Zoom play, you can’t hear any reaction from the audience members. What intrigues Jilly Hanson post Covid? Personally, I am really antsy to travel – my best friend lives in England, and I haven’t been able to visit her over there since she moved in 2013. Travel is definitely at the top of my list of things that I’m interested in doing. I started a little at home baking company last September while I was unemployed to help myself battle the COVID uselessness feeling I was going through. I love to bake and I love sharing my baking with others. One day, I would like to open up a café in my hometown that is also a space for artists and starting this little company felt like a right step in that direction so I’m interested in seeing where that goes. If I’m able to continue doing it in the New Year, or if it’s just a sporadic thing I do on my down time. And I’m also really itching to read more plays and consume more new works from Canadian playwrights since that’s something I haven’t done a lot of. As an artist, the fact we’re now allowed to be in rooms together. In October 2020, I was part of Theatre New Brunswick’s online play reading festival which was great but so weird because I’ve never been performing on my computer with people who were in a different time zone than me. It was a great experience and I was glad I was able to have that opportunity, but I’m intrigued now to be back in a room playing off another actor or new actor seeing what works, what doesn’t… the whole process of coming together live. What frustrates Jilly Hanson post Covid? Personally, it’s the sheer selfishness and ignorance that have been praised as truth and this weird mindset of individual versus community. I know there is a right of personal opinion but when it gets to a point of where you’re putting other people’s lives in danger, your personal opinion doesn’t really matter. You need to be thinking about the community, the group and not yourself at this point. As an artist, it’s the same. That’s not to say that actors are the best people but there might or could be artists out there who don’t believe in vaccines. I’m worried that we did have this huge break as actors. I’m concerned that vastly produced theatre coming out of Covid may or might now produce quality material or it might focus too much on Covid. I’m super glad we’re back in the theatre but I’m hoping that the quality of theatre will not be affected in any way. Yes, we’re taking the time to do the work but we also need to continue to take the time to check in on people as we emerge from the pandemic. The effects of this grand pause are going to be felt for a long time. It’s not going to go away so easily. Since you are playing the lead, how are rehearsals going for “Miss Bennet – Christmas at Pemberton”? What message do you hope audiences will take away from the production? The directing and stage management team have been stellar through all the rehearsal process: Ryan G. Hinds as Director, Alex Rioux as Assistant Director, Judy Joe Scheffler as Stage Manager and Patricia Vinluan as Assistant Stage Manager have created a very safe space to try things out and make choices without any judgement or fear. In early days, Ryan said we’re all rusty on account of this last year and a half so let’s be gentle with ourselves and take things one step at a time. We don’t want to rush into things as we want to make sure we’re doing them right. At this point in the process, Ryan and the team have created a family for us so we have a chill, relaxed environment. I believe the play has been well cast. Everyone has been quite shocked. We have the entire show blocked and done an entire stumble through. We’re also starting Week 3. We feel things are going really well but we’re feeling as if should we be this far….again it’s a different feeling right now. We open December 9 in Fredericton, close on the 11th and turn around to drive to St. John on the 12th and do a show in the evening of the 12. I think we have a school performance the next day. It’s creeping up. The message of the production…hmmm….okay, Ryan likes to check in on us everyday and leaves us with a question. The question asked – “In a word or two, what do you think the word of ‘Miss Bennet’ is?” I said, “True, because I think at the heart of this play everybody is encouraged to be true to themselves.” Each of the characters goes through an arc of being who they think people want them to be, but they come to terms with who they are without any added pressures. Everyone gets to be their true selves. Coming out of a pandemic, this truth from ‘Miss Bennet’ seems appropriate for an audience. 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 and teachers who encouraged you to get to this point as an artist, what would it be? “Thank you”. 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? “Thank you for giving me the wherewithal to prove you wrong.” What’s your favourite swear word? “Fuck” What is a word you love to hear yourself say? Noodle What is a word you don’t like to hear yourself say? Delicious With whom would you like to have dinner and discuss the current state of the live Canadian performing arts scene? Honestly, I’d like to have dinner with anybody in the arts to hear their thoughts and opinions as theirs will probably be different from mine. I like that. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Don’t give up hope. With the professional life experience you’ve gained, what would you now tell the upcoming Jilly Hanson from years ago who was just in the throes of beginning a career as a performing artist? It’s not going to be easy and it’s not maybe going to look how you think it’s going to look, but it will happen. What is one thing you still wish to accomplish both personally and professionally? Personally, a difference. I want to make a difference. I want to be able to help create change. I want to be able to help inspire people. I want to be able to be a resource. I want to be able to make a difference in people’s lives in my community outside of the theatre and just do my part. When all is said and done, I can look back on my life and say, “I was a good partner. I was a good person. I can put a stamp on what my life was, and people can take whatever I leave behind and continue it on.” Professionally, I would really like to have my own theatre company in my hometown where I’m able to produce and act, do both. I’d like to have a theatre company where I employ both Equity and community actors. Name one moment in your professional career that you wish you could re-visit again for a short while. Hmmm…a couple of friends and I started a theatre company in Toronto. We did a production of ‘The Crucible’ and it was a really great learning experience both producing wise and acting wise. It was over too fast. I’d like to do that one time and have another kick at the can. What is one thing Jilly Hanson will never take for granted again post Covid? Just acting in general and having the opportunity to work with other actors communally in the same room. Would Jilly Hanson do it all again if given the same professional opportunities? Yes, but… Just because my fellow cast members and I have been talking recently about no arts experiences in theatre school and all that jazz. Not that I’ve been out of theatre school that long, it’s only been six years. I’ve been reflecting on things and went through a lot of stress ridden and anxiety ridden times. It was one of the hardest things I’ve ever done – mentally, physically, spiritually, emotionally. All of the above. But I am very glad that I got the opportunity to go to theatre school. I’m very grateful for the people I’ve met, the people I’ve worked with and the content I was able to do which I’ll probably not have the opportunity anywhere else to do. In theatre school I’ve discovered who I was as a person and as an actor, but I would not go through the stress, the sleepless nights…. That was quite a bit. To learn more about Theatre New Brunswick and/or to purchase tickets, visit www.tnb.nb.ca . You can also follow at Facebook: @theatrenewbrunswick. Previous Next

Back 'Pride & Prejudice' (sort of) after Jane Austen Now onstage at Toronto's CAA Theatre Credit: Mihaela Bodlovic Joe Szekeres “A cheeky, bodacious, and delightful ensemble. The production respectfully pokes entertaining fun at Jane Austen’s iconic novel.” Isobel McArthur’s tongue-in-cheek adaptation follows the lives of the five Bennett sisters as they each try to find a husband under the dutiful eyes of their mother. The sisters understand that they will become destitute and lose control over house ownership if they do not marry wealthy husbands. Each woman also begins to understand her duty and place within Regency society. We also see the love story of Elizabeth Bennett and Mr. Darcy play out in front of the audience. What makes McArthur’s story adaptation unique? These five women are servants in this upscale home. In her Director’s Programme Note, McArthur writes that ‘Pride & Prejudice’ is also set during the Napoleonic wars. While most men were off fighting, women made up for a disproportionate number of household servants. The five ladies play many roles in ‘sort of’ telling Austen’s story set in 1716 through modern twenty-first-century vernacular. I arrived at the theatre today not having read ‘Pride & Prejudice’ in my undergraduate years while studying for my Bachelor of Arts in English Language and Literature. You may ask, “How can an English major not read a book by Jane Austen?” “I’ll tell you; I don’t know.” “But it’s true, I didn’t read it.” (Thanks to Tevye’s conversation with the audience in ‘Fiddler on the Roof’ for this inspirational reference) Two things that didn’t destroy my attention towards ‘Pride & Prejudice’ (sort of): a) I could follow the story thanks to the colloquial language used in the dialogue. b) my guest today loves Austen’s novel. She was able to fill me in on a few amusing references I might not have connected with since I hadn’t seen the film with Colin Firth nor read the novel. Visually, the Regency era has been effectively captured thanks to Designer Ana Inés Jabares-Pita’s design of the grand semi-circular staircase. The drawings of the book spines on the wall and each staircase step nicely suggest an upscale setting without having to show that we are in a wealthy, upscale manor. Simple white costumes suggest these ladies are servants within the house at the top of the show. As the story progresses, they throw on various accoutrements and become the various characters. Colin Grenfell’s lighting indicates where attention is to be focused for each scene. I’ve been commenting on sound design for several productions recently and continue stressing the importance of hearing the dialogue and the lyrics of songs if applicable. Once again, thanks to Michael John McCarthy and Niamh Gaffney for aptly ensuring that sound quality is an essential component. ‘Pride & Prejudice’ (sort of) is an extremely smart comedy, making it a great deal of fun to watch. Thanks to Directors Isobel McArthur and Simon Harvey’s observant attention and this cheeky, bodacious, and delightful girl power ensemble of dynamite ladies, some wonderfully staged comic moments made me laugh out loud. Before the show begins, the ladies immediately break the fourth wall and enter the house, chatting, kibitzing, and joking with the audience. Yours truly had the top of his bald pate sprayed and wiped clean with a (hopefully) clean rag. If you are in the aisle seat, take notice that you may become part of the staged fun. And if you are, relish the moment. Remember, it’s the Christmas and holiday season. We all need to smile and laugh. Emily Jane Boyle’s choreography remains simple but nicely timed to the vocal numbers. There were moments when I couldn’t help but make a few favourable comparisons to ‘Six’ playing just a few blocks over. In both productions, the choreography aptly reflects the internal emotions the characters are experiencing. Some theatre aficionados may struggle with the idea of the continuous breaking of the fourth wall throughout a live performance. I get it that the magic of the theatre involves transporting the audience away for a couple of hours to another place and time. In this ‘Pride & Prejudice,’ the continued breaking is of necessity, especially in the staged karaoke numbers of twentieth century pop songs. They offer a biting and funny commentary on a plot event. The riding of Willy made me double-take, but man, oh, man, did I ever laugh. These five women are the main reasons to see the show over the holiday season and into the new year. It’s sensational ensemble work. The ladies listen carefully to each other and respond appropriately to the jokes and double entendres. Absolute hilarity and joy in the CAA Theatre. Running time: approximately 2 hours and 25 minutes with one intermission. ‘Pride & Prejudice (sort of) runs until January 21, 2024, at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333. PRIDE & PREJUDICE (sort of) by Isobel McArthur after Jane Austen Directors: Isobel McArthur and Simon Harvey Musical Supervisor: Michael John McCarthy Choreographer: Emily Jane Boyle Sound Designers: Michael Mohn McCarthy and Niamh Gaffney for AUTOGRAPH Designer: Ana Inés Jabares-Pita Lighting Designer: Colin Grenfell Comedy Director: Jos Houben Performers: Ruth Brotherton, Christina Gordon, Lucy Gray, Dannie Harris, Leah Jamieson, Olivia Dowd, Grace Liston Previous Next

Back Susan Ferley Looking Ahead Peg McCarthy. Joe Szekeres I met Susan Ferley several years ago where she and I (along with others, including Derrick Chua) were asked by Jeremy Smith to judge Driftwood Theatre’s Trafalgar 24 (held at Whitby, Ontario’s Trafalgar Castle School). Susan is a highly articulate and intelligent individual when it comes to the live theatre industry, and I was sincerely hoping that I would have the opportunity to speak with her again and share in her love of the live theatre industry. That opportunity did render itself when I later learned she is the Artistic Director of the Cameco Capitol Arts Centre in Port Hope, Ontario. Since this profile, Susan has stepped down from her role as Artistic Director. I was grateful Susan was honest in saying it’s been a bumpy ride at the Capitol especially when Covid arrived over a year ago. She has a great deal of respect for the extraordinary Board of Directors and what they’ve done for the survival and flourishing of the Capitol Theatre. Even before we delved into the scripted questions, Susan and I discussed how theatre will change as a result of Covid. She believes virtual theatre will be part of the future, and it’s a challenge not only for her but for all of us who have grown accustomed to loving and to seeing live theatrical shows in an enclosed space on the stage with an audience. Susan studied in England and received her Master of Arts in Actor Training and Coaching. We conducted our interview via Zoom. Thanks for taking the time, Susan, to add your voice to the conversation: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. I’ve realized how connected I am to work and collaboration. I live on my own; I think of myself as a private person. I know I can survive on my own, but I feel diminished in some ways. It’s striving to find outlets. I’ve been cooking and baking more and realizing how, because I’m so focused on the work, friendships and family relationships were set aside. I’ve realized my personal need to connect with other artists and also with friends and family, and nature. Do I think of myself as someone in love with nature? No, I’ve often been in dark theatre rooms. Almost every day I go out for a walk. I’m looking out my window right now and seeing the trees glow green; the leaves aren’t fully out but you see that journey walking around and seeing the flowers starting, the forsythia, tulips popping up and daffodils in full bloom, and listening to the birds. The river here, The Ganaraska, is extraordinary. The sound of it too. If all else fails, I would walk along the river in the downtown area. Right now, because of the current stay at home, barriers have been put up. They don’t want you walking along the river because that’s what draws people to our community often. So, I can’t get close there right now. This community is so beautiful and has so much to offer. That’s been lovely, but I’ve had to re-assess who I am, where I am, what’s important and what I’ve missed in my life journey. 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 artistic director of the live theatre industry been altered and changed? Phew…I’ve always felt the theatre plays a vital role in a community and I think, for me, it’s heightened that awareness. I’ve been reading. There was an article I read talking about a theatre in San Francisco where it spoke about theatre being an ‘empathy gymnasium’ where we learn about compassion; whether as an individual or as a community, for me, theatre provides an emotional gymnasium, a place where we can release. I know people are often looking for entertainment and want to laugh, and how important that is to gather in a room and to share a story and find an emotional release. It’s not always laughter, sometimes there are tears, sometimes memory. But just what an important role, for me, but also the arts play in the lives of individuals in a community and also more broadly in a community. It’s shared journeys, shared stories. As a professional artist, what are you missing the most about the live theatre industry? (Susan laughed as it appears she just answered the question earlier) Gathering in a room, artists, actors, creative teams, technical teams; it’s the collaboration that is so important to me, that interaction where creativity is sparked. That certainly is missed. Heightened communication that is intellectual, emotional, psychological; sharing stories and also taking the creation (the production/the story being told) and sharing it. Through the sharing of the story there is also being informed and stimulated creatively as you learn from that interaction more about the creative process that goes into it. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when the doors re-open? (Susan laughs) Just that, the human interaction and communication, the heightened communication, enriched communication through stories. The ability to gather and share an experience. Describe one element you hope has changed concerning the live theatre industry. It’s offered time for reflection on how we do what we do. Certainly, and this was very early, with the murder of George Floyd the awareness that has been brought to my/our collective attention. Our failings as artists working with other artists, playing with other artists. The failings of our institutions. Theatres are creative places and gathering places and welcoming and compassionate, and there have been failures, major failures. And so, hopefully, through reflection and the time being offered, there will be changes in how we work. Just thinking of theatres as institutions I find offensive, you know. It’s about creativity, challenge and shared stories, and a place going back to whether it’s that idea of gymnasium where things are shared, and out of the exercise of coming together and sharing a story we leave with greater understanding and compassion. I think there is potential for change, but lots to do. Watching the IBPOC/BIPOC round table from the Stratford Festival last summer was so heartbreaking at times. And then we don’t want to just wallow in that, and then you go, ‘How, what, has to happen to move forward from all this?’ Whether professional or non-professional the need to open, welcome, and be willing to hear, to listen, and to see other stories outside of our own story, and outside of our lens. We now have, one hopes, a heightened awareness of artists of colour. As a friend pointed out to me, there’s also diversity on other fronts. That awareness is starting to parallel with BIPOC/IBPOC artists so that we hear the artists. Explain what specifically you believe you must still accomplish within the live theatre industry. Well, with a greater awareness, to support and encourage. With my involvement with the High School Project (from my time at London Ontario’s Grand Theatre) and going off to England, and training and taking a program that was actor training and coaching, to enrich the skills that I have to support artists in development, artists that are emerging. I know that’s an area I’m interested in working with young and emerging artists, if I can be of assistance in helping them to reach and claim that potential and soaring. I’ve had opportunities to work in training programs and I always am exhilarated by that. The schools certainly have an increasingly responsibility in terms of assembling the IBPOC/BIPOC teachers so that the students of colour see themselves reflected in the faculty and trainers. 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 artistic director, and as an audience member observing the theatre. I think there will be some Covid themed plays. I’m looking at to see if I can try to bring it to the Capitol Theatre is ‘February: A Love Story’ by Sudden Spark Collective. The artists involved with that project, Ellen Denny, is someone who came out of the High School Project in London, Ontario and has pursued a career as a performer, but more recently as a writer. She and her writing partner, Emilio Vieira, have created a love story in times of Covid. They describe it as a romantic comedy, and it very much is. But it’s also about life in the midst of Covid. So, while in my head, I might go, “Oh, I don’t know if this would go work on the subject of Covid,’ I think there will be some. This particular piece, ‘February: A Love Story’ is playful and filled with love and hope. Those are key things to get us through this time. Because of Covid, the play was also filmed. It may be on a Stratford platform so keep your eyes open. I think because of the isolation, and certainly I feel it as an individual, but I don’t think I’m alone in that shared experience of isolation from community and shared experience, that theatre can offer that potential for catharsis. Whether that’s coming together to laugh out loud, or whether to come together and through the experience find an emotional release whether laughter or tears. That is something that we need and want desperately to come together especially during this time. There’s a need to get back to that emotional gym for an emotional and psychological workout. It’s been hard on individuals, human interaction and communities. Theatre will play an important role and if it takes a Covid themed play to do it, so be it. Shakespeare was pretty good at it too when ‘King Lear’ was written during a time of plague and pandemic. As an artist, what specifically is it about your work that you want future audiences to remember about you? Oh, dear, I’m never good about this sort of question, I’m afraid. I hope I’m viewed as having had a generosity of spirit. A joy and a passionate love for what I do and that’s whether in creating work with a group of people that is shared with another group of people. A sense of play and a love for all that theatre can offer, all that sharing stories can offer, all that creating and playing together can offer. To learn more about Port Hope’s Cameco Capitol Centre, visit Cameco Capitol Arts Centre – Experience Entertainment (capitoltheatre.com). Facebook: Capitol Theatre Port Hope; Twitter: @CapitolPortHope Previous Next

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

Back ‘Singulières’ Crow’s Theatre and Théâtre Français de Toronto present a Le Collectif Nous Sommes Ici, Le Théâtre Catapulte and La Bordée Coproduction Theatre Francais de Toronto Joe Szekeres This ‘Singulières’ remains timely and appropriate given the status of our woke culture About halfway through this critical documentary theatre production, it suddenly dawned on me the important relevance of ‘Singulières’. The last two years of the pandemic have seen the rise of Black Lives Matter, #metoo, and a myriad of other social justice issues which have had their place and deserved consideration. It’s time to consider the role of women. This may sound oddly out of place, but this topic of women and defining what the term means has pre-occupied the minds of many who believe the term cannot be defined or identified in our woke culture. Just recently, Conservative Matt Walsh from The Daily Wire produced his fearless documentary film “What is a Woman” billed as questioning the basic logic of this term that many either are reluctant to answer, don’t want to answer, choose not to answer or are afraid to answer. I haven’t seen the film yet but am planning to watch it because I want to hear what he has to say, so don’t jump down my back because I haven’t seen it at this point. However, in preparation for the film after watching this timely and appropriate ‘Singulieres’, I felt the play vitally focuses on the question of what it means to be a woman (and Quebecois and single). Staged at Toronto’s Crow’s Theatre, the following information is taken from the website: “Directed by one of Québec’s fastest rising directors/auteurs, Alexandre Fecteau, SINGULIÈRES is an unexpected, hilarious, and moving encounter with five “single ladies” from Québec and follows the women in their 30s and 40s over two years, each of them living the single life with joy and purpose, all the while defying society’s expectations and redefining their own concepts of happiness, identity, and love. “ Fecteau uniquely stages the production in what appears to be a set design of a functioning television studio, perhaps Radio Canada or the CBC (cleverly designed by Ariane Sauvé). In the centre of the stage is a round turn table on which there are small set pieces used as locales when the women speak on camera. Upstages right and left are green screens where the artist will speak into the camera, and when the audience looks at the screen a backdrop is placed behind the artist. I’ve seen this done on Zoom calls recently where some have decided not to show the room in which they are sitting so an AI setting is used instead. There are television cameras that freely move about the playing space where the actors are filmed. And then we are introduced to Jordan, Joelle, Zaya, Nathalie and Rose and listen to their stories as they live single lives in Québec and how they are coping. At times, their stories are juxtaposed with black and white filmed responses from what I am supposing were Québec women in the late 60s/early 70s and describing what life was like in the feminist movement then and perhaps their place within it. At one point, there were men describing the role of women at that time, and their understanding is VERY DIFFERENT from the way the Québecois women saw themselves and their place in the world. To give away too much of ‘Singulières’ plot would spoil the very reason why audiences need to see this production. There were a few of us men in the audience on the Sunday matinee, and I do hope more see it this week before it closes. There is a digital presentation upon the closure of the play, and I will include that information near the end of the review. Suffice it to say the play shuns how women evade traditional stereotypes of marriage, motherhood and monogamy. This strongly confident ensemble of ladies (Frédérique Bradet, Savina Figueras, Danielle Le Saux-Farmer, Nadia Girard Eddahia and Sophie Thibeault) strongly and grittily tackle these stereotypical themes and sometimes narrate what it means for them to be a woman through stories, sometimes of humour but also horrifically of abuse and sexual assault. I came away from this production ultimately believing that there are some issues where there are certain private female moments felt and experienced that I can’t understand. Even playwright Maxime Beauregard-Martin wrote in his online Programme Note: “How could I possibly do justice to a situation that was simultaneously so intimate and foreign from my own?” From my male perspective, he accomplished what he set out to do. Yes, men can follow the storyline of women. Yes, men can have intimate encounters with women; however, that intimacy which the playwright discovers is something only a born woman can only and truly understand what another born woman feels and experiences. I hope that the previous comment becomes a conversation starter rather than looking upon it as getting into hot water. Some dynamite performance moments in ‘Singulières’ made me feel uncomfortable concerning the subject material, but that’s what a good artist must do in front of a live audience regardless of sex or gender as I paid strict attention to what was taking place right before me. Final Comments:’Singulières’ becomes that necessary conversation starter, that touchstone, of what it means to be a woman in all its joys, fears, sorrows, laughter, tears, and angst. Production runs to June 10 at Crow’s Theatre, 345 Carlaw Avenue. For tickets to the stage production, visit www.crowstheatre.com . The production is then presented digitally June 11-26. For tickets visit www.crowstheatre.com . As of the writing of this article, Covid protocols are in effect at the theatre. The production is staged in French. Audiences have the choice to read the surtitles on a screen above the stage which is large enough to see from the house. There is also the choice to place over your eyes headgear that will allow you to read the English translation above the actors on stage. This headgear is Star Trek fashionable. I tried it. For the most part, it worked fine for me, but there were moments when I had to remove the headgear because it hurt the back of my ears. In future for me two things: read the surtitles OR force myself to listen to the play since my undergraduate minor is French language. Previous Next