Welcome to Monthly Reviews All monthly reviews will be placed under this tab. Once a show closes, each review will then be placed into its separate thematic category. July Reviews 'The Newfoundland Songbook' presented by Shipyard Kitchen Party Click Here Anne of Green Gables, adaptation by Kat Sandler. A Stratford Festival Commission Click Here Divine Monster at Toronto Fringe Click Here JACK'D: A THIEF, A MURDER, SOME SEX AND A BEANSTALK TORONTO FRINGE Click Here Pornstar at Toronto Fringe Click Here The Housekeeper Click Here ALMOST EVER AFTER A New Musical TORONTO FRINGE Click Here Dirty Rotten Scoundrels Click Here Forgiveness Click Here Playground, A New Family Musical TORONTO FRINGE Click Here Sense and Sensibility by Kate Hamill. Based on the novel by Jane Austen Click Here The Winter's Tale Click Here

Now on stage July 9, 10, 11, 12 and 13 at Rafos Hall, East End United, 310 Danforth Avenue, Toronto Back JACK'D: A THIEF, A MURDER, SOME SEX AND A BEANSTALK TORONTO FRINGE Now on stage July 9, 10, 11, 12 and 13 at Rafos Hall, East End United, 310 Danforth Avenue, Toronto Credit: Rob Corbett. L-R: Brandon Kulic and Henry Oswald Pierson Joe Szekeres “My question is, why? Why do we need an adult telling of a classic fairytale? Is there anything new we’re going to learn? Is it to experience adult, ribald sexual humour and innuendo? Plus, where the hell is this story set?” Hmmm… The story (in case no one has ever heard of ‘Jack and the Beanstalk’.) The production begins with Shea (Henry Oswald Pierson, strangely resembling someone from THE ROCKY HORROR PICTURE SHOW), who welcomes the audience and tries to keep the pacing of the show moving. The 21-year-old muscular hunky Jack (Brandon Kulic) finishes re-writes of the classic tale for adults. This new version is told in rhyming couplets (a reminder of those high school Shakespearean tragedies?) and adult innuendo. The play stops and starts with all kinds of questions, but ultimately it comes down to why Jack is the hero. Jack and his mother (Ashley Hughson) get into a fight over the fact that the young lad sold the remaining cow to a shyster for five magic beans, which eventually grow into a beanstalk. Jack climbs the beanstalk and then steals things from the Giant (Nabeel El Khafif) and his wife (Carmen Gillespie), who is sexually frustrated with her husband. You guessed it as well – Jack and the Giant’s frustrated wife have sex for that very reason. And to top it all off, the Giant’s wife continues to allow Jack to steal things from her house. Jack steals the Giant’s golden Harp, who likes to imagine everyone naked… Okay… Ultimately, the Giant chases Jack down the beanstalk. Jack chops it down and the Giant falls to his death. The young lad is declared the hero. I wanted to be entertained by an imaginative and creative adult version of ‘Jack and the Beanstalk.’ I really did. Sorry, all. I wasn’t. Getting ‘Jack’d’ is something I could not get into. Disappointed. JACK’D Up Productions presents JACK’D: A THIEF, A MURDER, SOME SEX AND A BEANSTALK Written and directed by Rob Corbett Stage Manager Victoria Stark Cast Henry Oswald Peirson Cast Brandon Kulic Cast Ashley Hughson Cast Nabeel El Khafif Cast Carmen Gillespie Producer Denise Lambert Producer Aestus Rogers Previous Next

Where theatre is not only presented on the stage. Back JACK'D: A THIEF, A MURDER, SOME SEX AND A BEANSTALK TORONTO FRINGE Now on stage July 9, 10, 11, 12 and 13 at Rafos Hall, East End United, 310 Danforth Avenue, Toronto Credit: Rob Corbett L-R: Brandon Kulic and Henry Oswald Pierson Joe Szekeres “My question is, why? Why do we need an adult telling of a classic fairytale? Is there anything new we’re going to learn? Is it to experience adult, ribald sexual humour and innuendo? Plus, where the hell is this story set?” Hmmm… The story (in case no one has ever heard of ‘Jack and the Beanstalk’.) The production begins with Shea (Henry Oswald Pierson, strangely resembling someone from THE ROCKY HORROR PICTURE SHOW), who welcomes the audience and tries to keep the pacing of the show moving. The 21-year-old muscular hunky Jack (Brandon Kulic) finishes re-writes of the classic tale for adults. This new version is told in rhyming couplets (a reminder of those high school Shakespearean tragedies?) and adult innuendo. The play stops and starts with all kinds of questions, but ultimately it comes down to why Jack is the hero. Jack and his mother (Ashley Hughson) get into a fight over the fact that the young lad sold the remaining cow to a shyster for five magic beans, which eventually grow into a beanstalk. Jack climbs the beanstalk and then steals things from the Giant (Nabeel El Khafif) and his wife (Carmen Gillespie), who is sexually frustrated with her husband. You guessed it as well – Jack and the Giant’s frustrated wife have sex for that very reason. And to top it all off, the Giant’s wife continues to allow Jack to steal things from her house. Jack steals the Giant’s golden Harp, who likes to imagine everyone naked… Okay… Ultimately, the Giant chases Jack down the beanstalk. Jack chops it down and the Giant falls to his death. The young lad is declared the hero. I wanted to be entertained by an imaginative and creative adult version of ‘Jack and the Beanstalk.’ I really did. Sorry, all. I wasn’t. Getting ‘Jack’d’ is something I could not get into. Disappointed. JACK’D Up Productions presents JACK’D: A THIEF, A MURDER, SOME SEX AND A BEANSTALK Written and directed by Rob Corbett Stage Manager Victoria Stark Cast Henry Oswald Peirson Cast Brandon Kulic Cast Ashley Hughson Cast Nabeel El Khafif Cast Carmen Gillespie Producer Denise Lambert Producer Aestus Rogers Previous Next

A creative look at presenting theatre. Unique Pieces '12 DINNERS' by Steve Ross WORLD PREMIERE Click Here 'A Public Reading Of An Unproduced Screenplay About the Death of Walt Disney' by Lucas Hnath Click Here 'De Profundis: Oscar Wilde in Jail' The World Premiere Click Here 'First Métis Man of Odesa' by Matthew MacKenzie and Mariya Khomutova Click Here 'In Seven Days' by Jordi Mand. World Premiere of a comedy about death Click Here 'Jack: A Beanstalk Panto' (The Naughty Version) Written and Directed by Rebecca Northan Click Here 'A Case for the Existence of God' by Samuel D. Hunter Click Here 'Constellations' by Nick Payne Click Here 'Fierce' written and directed by George F. Walker Click Here 'Goblin: Macbeth' Created by Rebecca Northan and Bruce Horak Click Here 'Infinite Life' by Annie Baker Click Here 'Life of Pi' based on the novel by Yann Martel. Adapted by Lolita Chakrabarti Click Here

Now on stage at 4th Line Theatre, 779 Zion Line, Millbrook Back The Housekeeper Now on stage at 4th Line Theatre, 779 Zion Line, Millbrook Publicity Photo of Julia Scaringi and Jay Davis from 4th Line Facebook page courtesy of Wayne Eardley Joe Szekeres "An interesting world premiere tale about a newcomer to town who doesn't reflect what others think to be the norm. Some choices in the performance puzzled me." The year is 1955. 'The Housekeeper' opens at Toronto's Union Station, where attractive-looking Eleanor Gwynn (Julia Scaringi) detrains and looks for the connection to Cobourg. Grant (Matt Gilbert) goes over and tries to work his charm on Eleanor, but she feistily does not succumb to his advances. Eventually, the setting shifts to Millbrook. Residents notice the young Eleanor and pay attention to her because she's new. The young woman is very progressive in her views, and that's cause for concern in small town Millbrook. For the time being, she will stay with the nosy and gossipy Anthea (Hilary Wear). Eleanor would like to start life anew and establish roots somewhere, calling a place home. She's looking for a job and eventually becomes a housekeeper for widower Walter White (Jay Davis) and his son, James (Darius Maliha-Evans). Very little is known about Eleanor, except that she now wants to start her life anew in Millbrook, sparking controversy among the residents of the town. Eleanor knows that moving in with Walter will start rumours, but she doesn't care. Soon, a budding romance begins between them, much to the dismay of the town. There are other complications as well. James White starts to feel a connection to Eleanor, as does Grant. Walter's daughter, Ruth (Kiana Bromley), a newspaper reporter, does not trust what's going on with the mysterious Eleanor. A few people in the town begin to dig up some background information about Eleanor and discover that the woman has a dark past from Leamington, which returns to haunt her in Millbrook. Billed as a mystery-romance, this world premiere play by Ian McLachlan and Robert Winslow invites its audience to ponder the duality of those who live in small towns, where they can be welcoming on one hand and suspicious on the other. 'The Housekeeper' is the fourth story in McLachlan and Winslow's series of plays about Doctor Barnardo's children and their impact on Canadian culture and history. At one point, Walter shares that he was one of the Barnardo children with Eleanor. The multi-level stage amply accommodates various locales, ranging from Toronto's Union Station to a dance hall in Bewdley and a hardware store on King Street in Millbrook. Esther Vincent's original set design, which suggests a house centre stage, works well. Credit to Costume Designer Bonnie Garland and her team for the collection of gathering clothing reminiscent of the 1955s. The team has done an admirable job of ensuring authenticity. Steáfán Hannigan's adept sound design enables clear enunciation. I could hear every word of the dialogue. I also look forward to some of the surprises the 4th Line will bring to the stage. Over the years, classic cars have made an appearance. I wondered if the same would occur in 'The Housekeeper.' Let's say I'm not disappointed. Robert Winslow directs with a precise vision, aiming to capture the often-fickle nature of human behaviour, which is not only common in small towns but can occur everywhere. Being fickle can rear its head when we meet someone new who may not fit in with what has been established as the norm. 'The Housekeeper' has a 16+ advisory for some adult references. That's important to know if parents are uncertain about whether to bring young children. Young children are acting in the show, so I assume parents or adults have already spoken to them about the references. Julia Scaringi evokes an aura of mystery and mystique as Eleanor. Scaringi continually hints at Eleanor's past with a seductive look or glance she gives to the male characters, but never crosses the line towards impropriety. Scaringi's Eleanor inherently knows she must always remain a lady even when provoked on account of her past. As the patriarch of the house, Jay Davis's Walter experiences a myriad of emotions familiar to many widowers. Davis plays these emotions most heartfully and believably. His Walter misses his wife terribly, but he knows he must continue moving forward to become a productive member within Millbrook. Sure, he becomes keenly interested when Eleanor begins paying attention to him through innocent flirtation at first. As their relationship progresses, Walter and Eleanor form a deeper bond, not merely a physical connection. They are two kindred lonely spirits who briefly help each other to connect and revive their saddened souls. Darius Maliha-Evans' James additionally falls under Eleanor's spell. What sets James apart, and what love does he experience for Eleanor? She doesn't feel the same attraction to the young lad in quite the same way as Walter. When this moment becomes evident, Maliha-Evans' look becomes heartbreakingly honest. He's despondent. Eleanor is James's first love and rejection, and Maliha-Evans performs without any overacting. He allows the audience to experience the emotions instead. Very effective. As Grant, Matt Gilbert's burgeoning attraction to Eleanor is just as heartfelt. Before Walter, Eleanor uses Grant to make appearances seem as normal as possible. It's what one might call 'toying with affections.' Gilbert successfully keys in on the same myriad of emotions Maliha-Evans experiences as well. Although there might be a sense of despondent rejection similar to James's, there's a sense that Gilbert's Grant does not allow those emotions to overcome him at present. For some reason, he can also sense that something is not clicking right with Eleanor. Kiana Bromley's Ruth (Walter's daughter and James's sister) is business-like and matter-of-fact. Bromley's Ruth understands that her father is lonely and wants him to find happiness once again. Ruth intends to like Eleanor; a particular interaction between the two sets the reporter's senses on alert. Hilary Wear is clownish in her interactions with the townspeople regarding the hidden side of Anthea. Supporting characters enjoyably reflect the small-town persona. As always, 4th Line uses actors from the community in ensemble roles. It's refreshing to see the various levels of performance in many of the crowd scenes. Music becomes an integral part of 4th Line Productions. I always look forward to hearing what Justin Hiscox will compose for the various shows. In 'The Housekeeper', the song selection and instrumental music are appropriately used to heighten and underscore tension and intensity for the most part. I have a slight quibble regarding one of the songs. In the second act, Scaringi sings a song that brings the play's pacing to a halt. I'm confused as to why Eleanor has to sing, especially since the dialogue preceding it indicates what she experiences. Again, a slight quibble. In the Playwright Notes, Ian McLachlan mentions how the series of plays he and Winslow have composed about the Barnardo children focuses on a sense of uprootedness among the children who managed to survive in the world. Ironically, although Eleanor is not a Barnardo child, she, too, as an adult, experiences the same thing as the young children – a desperation to put down roots somewhere to call a place home. My guest and I discussed the opening night show on the way home, as she was unfamiliar with the Barnardo children. It's a tremendous challenge to discuss 'The Housekeeper' on the way home. My guest and I did that, and we enjoyed speaking about what we had just seen. By all means, see 'The Housekeeper' as the production allows audiences to see a part of Canadian history from the region. I'm not sure how much of the story is historically accurate, but there were housekeepers in the Millbrook and Cavan regions at that time. Running time: approximately two hours and ten minutes with one interval/intermission. 'The Housekeeper' runs until July 10 at the Winslow Farm, 779 Zion Line, Millbrook. For tickets: 4thlinetheatre.on.ca or call (705) 932-4445. 4th LINE THEATRE presents the World Premiere of 'The Housekeeper' by Ian McLachlan and Robert Winslow Directed by Robert Winslow Musical Direction & Original Compositions: Justin Hiscox Costume Design: Bonnie Garland Original Set Design: Esther Vincent Sound Design: Steáfán Hannigan Stage Manager: Carly Webb Musicians: Celine Gadoury, Matt Gilbert, Justin Hiscox, Mark Hiscox, Cody Inglis, Gailey Mooner, Gillian Woodhouse Performers: Julia Scaringi, Jay Davis, Darius Maliha-Evans, Kiana Bromley, Matt Gilbert, Hilary Wear, Ian McGarrett, Mark Hiscox, Zach Newnham, Hanna-Marie Toll, Mikayla Stoodley, Cody Inglis, Debbie Hudson, Richard Holt, Adam Murray, Gillian Woodhouse, Kaleigh Castell, Lew Street, Gus O'Reilly, Evie Wallace Pre-recorded Vocal Improvisations: Caylie Staples Previous Next

Where theatre is not only presented on the stage. Back The Housekeeper Now playing at 4th Line Theatre, 779 Zion Line, Millbrook Credit: Wayne Eardley. Promotional photo of Julia Scaringi and Jay Davis taken from 4th Line's Facebook page Joe Szekeres "An interesting world premiere tale about a newcomer to town who doesn't reflect what others think to be the norm. Some choices in the performance puzzled me." The year is 1955. 'The Housekeeper' opens at Toronto's Union Station, where attractive-looking Eleanor Gwynn (Julia Scaringi) detrains and looks for the connection to Cobourg. Grant (Matt Gilbert) goes over and tries to work his charm on Eleanor, but she feistily does not succumb to his advances. Eventually, the setting shifts to Millbrook. Residents notice the young Eleanor and pay attention to her because she's new. The young woman is very progressive in her views, and that's cause for concern in small town Millbrook. For the time being, she will stay with the nosy and gossipy Anthea (Hilary Wear). Eleanor would like to start life anew and establish roots somewhere, calling a place home. She's looking for a job and eventually becomes a housekeeper for widower Walter White (Jay Davis) and his son, James (Darius Maliha-Evans). Very little is known about Eleanor, except that she now wants to start her life anew in Millbrook, sparking controversy among the residents of the town. Eleanor knows that moving in with Walter will start rumours, but she doesn't care. Soon, a budding romance begins between them, much to the dismay of the town. There are other complications as well. James White starts to feel a connection to Eleanor, as does Grant. Walter's daughter, Ruth (Kiana Bromley), a newspaper reporter, does not trust what's going on with the mysterious Eleanor. A few people in the town begin to dig up some background information about Eleanor and discover that the woman has a dark past from Leamington, which returns to haunt her in Millbrook. Billed as a mystery-romance, this world premiere play by Ian McLachlan and Robert Winslow invites its audience to ponder the duality of those who live in small towns, where they can be welcoming on one hand and suspicious on the other. 'The Housekeeper' is the fourth story in McLachlan and Winslow's series of plays about Doctor Barnardo's children and their impact on Canadian culture and history. At one point, Walter shares that he was one of the Barnardo children with Eleanor. The multi-level stage amply accommodates various locales, ranging from Toronto's Union Station to a dance hall in Bewdley and a hardware store on King Street in Millbrook. Esther Vincent's original set design, which suggests a house centre stage, works well. Credit to Costume Designer Bonnie Garland and her team for the collection of gathering clothing reminiscent of the 1955s. The team has done an admirable job of ensuring authenticity. Steáfán Hannigan's adept sound design enables clear enunciation. I could hear every word of the dialogue. I also look forward to some of the surprises the 4th Line will bring to the stage. Over the years, classic cars have made an appearance. I wondered if the same would occur in 'The Housekeeper.' Let's say I'm not disappointed. Robert Winslow directs with a precise vision, aiming to capture the often-fickle nature of human behaviour, which is not only common in small towns but can occur everywhere. Being fickle can rear its head when we meet someone new who may not fit in with what has been established as the norm. 'The Housekeeper' has a 16+ advisory for some adult references. That's important to know if parents are uncertain about whether to bring young children. Young children are acting in the show, so I assume parents or adults have already spoken to them about the references. Julia Scaringi evokes an aura of mystery and mystique as Eleanor. Scaringi continually hints at Eleanor's past with a seductive look or glance she gives to the male characters, but never crosses the line towards impropriety. Scaringi's Eleanor inherently knows she must always remain a lady even when provoked on account of her past. As the patriarch of the house, Jay Davis's Walter experiences a myriad of emotions familiar to many widowers. Davis plays these emotions most heartfully and believably. His Walter misses his wife terribly, but he knows he must continue moving forward to become a productive member within Millbrook. Sure, he becomes keenly interested when Eleanor begins paying attention to him through innocent flirtation at first. As their relationship progresses, Walter and Eleanor form a deeper bond, not merely a physical connection. They are two kindred lonely spirits who briefly help each other to connect and revive their saddened souls. Darius Maliha-Evans' James additionally falls under Eleanor's spell. What sets James apart, and what love does he experience for Eleanor? She doesn't feel the same attraction to the young lad in quite the same way as Walter. When this moment becomes evident, Maliha-Evans' look becomes heartbreakingly honest. He's despondent. Eleanor is James's first love and rejection, and Maliha-Evans performs without any overacting. He allows the audience to experience the emotions instead. Very effective. As Grant, Matt Gilbert's burgeoning attraction to Eleanor is just as heartfelt. Before Walter, Eleanor uses Grant to make appearances seem as normal as possible. It's what one might call 'toying with affections.' Gilbert successfully keys in on the same myriad of emotions Maliha-Evans experiences as well. Although there might be a sense of despondent rejection similar to James's, there's a sense that Gilbert's Grant does not allow those emotions to overcome him at present. For some reason, he can also sense that something is not clicking right with Eleanor. Kiana Bromley's Ruth (Walter's daughter and James's sister) is business-like and matter-of-fact. Bromley's Ruth understands that her father is lonely and wants him to find happiness once again. Ruth intends to like Eleanor; a particular interaction between the two sets the reporter's senses on alert. Hilary Wear is clownish in her interactions with the townspeople regarding the hidden side of Anthea. Supporting characters enjoyably reflect the small-town persona. As always, 4th Line uses actors from the community in ensemble roles. It's refreshing to see the various levels of performance in many of the crowd scenes. Music becomes an integral part of 4th Line Productions. I always look forward to hearing what Justin Hiscox will compose for the various shows. In 'The Housekeeper', the song selection and instrumental music are appropriately used to heighten and underscore tension and intensity for the most part. I have a slight quibble regarding one of the songs. In the second act, Scaringi sings a song that brings the play's pacing to a halt. I'm confused as to why Eleanor has to sing, especially since the dialogue preceding it indicates what she experiences. Again, a slight quibble. In the Playwright Notes, Ian McLachlan mentions how the series of plays he and Winslow have composed about the Barnardo children focuses on a sense of uprootedness among the children who managed to survive in the world. Ironically, although Eleanor is not a Barnardo child, she, too, as an adult, experiences the same thing as the young children – a desperation to put down roots somewhere to call a place home. My guest and I discussed the opening night show on the way home, as she was unfamiliar with the Barnardo children. It's a tremendous challenge to discuss 'The Housekeeper' on the way home. My guest and I did that, and we enjoyed speaking about what we had just seen. By all means, see 'The Housekeeper' as the production allows audiences to see a part of Canadian history from the region. I'm not sure how much of the story is historically accurate, but there were housekeepers in the Millbrook and Cavan regions at that time. Running time: approximately two hours and ten minutes with one interval/intermission. 'The Housekeeper' runs until July 10 at the Winslow Farm, 779 Zion Line, Millbrook. For tickets: 4thlinetheatre.on.ca or call (705) 932-4445. 4th LINE THEATRE presents the World Premiere of 'The Housekeeper' by Ian McLachlan and Robert Winslow Directed by Robert Winslow Musical Direction & Original Compositions: Justin Hiscox Costume Design: Bonnie Garland Original Set Design: Esther Vincent Sound Design: Steáfán Hannigan Stage Manager: Carly Webb Musicians: Celine Gadoury, Matt Gilbert, Justin Hiscox, Mark Hiscox, Cody Inglis, Gailey Mooner, Gillian Woodhouse Performers: Julia Scaringi, Jay Davis, Darius Maliha-Evans, Kiana Bromley, Matt Gilbert, Hilary Wear, Ian McGarrett, Mark Hiscox, Zach Newnham, Hanna-Marie Toll, Mikayla Stoodley, Cody Inglis, Debbie Hudson, Richard Holt, Adam Murray, Gillian Woodhouse, Kaleigh Castell, Lew Street, Gus O'Reilly, Evie Wallace Pre-recorded Vocal Improvisations: Caylie Staples Previous Next

Now on stage at Tarragon Theatre's Extraspace, 30 Bridgman Avenue, Toronto Back Who Drinks Mocktails on the Beach? TORONTO FRINGE Now on stage at Tarragon Theatre's Extraspace, 30 Bridgman Avenue, Toronto Credit: Winnipeg Fringe Joe Szekeres "A courageous and sometimes sobering look at a problematic societal issue. 'Mocktails' becomes that important periodic reminder to all of us to be kind, because we often don't know what's going on in the lives of others. Sara Mayfield is a marvel in maintaining a realistically emotional balance of highs and lows." Travelling solo, Candace (Sara Mayfield) is on her way to a Mexican destination wedding of her best friend, Jacki, and her soon-to-be husband, Ken. Upon ordering a drink from the Vancouver airport bar, Candace breaks the fourth wall and speaks to the audience. Mayfield performs a nearly one-hour-long monologue that scales the highs and lows of Candace's personal and familial relationships. Hints of substance abuse occur near the top of the show. Candace downs her drink to help calm her nerves during the flight. When she arrives at the hotel before the wedding, she uses alcohol to help unwind after her flight. She sits in the lobby, watching some of the other guests and keenly observing what's going on around her. We also see how Candace behaves and responds to others at the wedding. There are moments where she feels alone in this sea of happiness for the bride and groom. As the story continues, Candace shares details from her past with the audience. Some include the night she hooked up with a guest at the hotel and an ex-boyfriend who had a fetish for feet, Candace's in particular. A heartfelt moment is the time she recounts losing Jacki's pet cat while she was away, which altered their friendship forever. Candace also shares how Jacki met her fiancé, Ken. This introduction bothers her because she doesn't have a significant other in her life at the moment. All the while, Candace continues drinking at the bar. She has a problem with alcohol and has always used it as a crutch to deal with the hardships in her life. The simplicity of the staging (a lone chair) allows the play's impact to resonate. Lighting design smoothly transitions from brightly focused to a follow across the stage as Mayfield moves around. What an effective costume idea of designer Shannon Tauber to have Mayfield wear a blue dress. While 'blue' signifies calm and tranquillity, on hearing the roar of the ocean waves, the colour can also mean something else. For some, blue becomes a trustworthy colour. If that is one understanding, I agree with it. Mayfield earns my complete trust as she shares her story. For others, blue can also mean sadness or discontent. If this is another understanding, I buy it entirely as well. Underneath Candace's 'party girl' persona lies a scared individual for a sundry of reasons. As a result, she develops a problem that needs to be addressed and requires some help. Damon Bradley Jang directs with a clear vision. He doesn't hit the audience over the head immediately with this problematic societal issue of alcohol abuse. Instead, he allows Mayfield to explore gradually through comic and poignant moments what is occurring within Candace. The pacing never feels rushed as the audience, and then Candace, finally sees what's going on and that the young woman needs help. Sara Mayfield remains a marvel in maintaining a realistically emotional balance of highs and lows in her Candace. The humorous moments made me smile without it becoming way over the top. The same occurred with the poignant moments that never descended into over-the-top despondency. Mayfield remains in complete control as she shares her story. She allows the audience to feel what she feels internally. 'Who Drinks Mocktails on the Beach?' becomes a vital teaching monologue for young people to understand that one does not need alcohol to fit in. Mayfield's script serves as a sobering reminder to be kind to others, as we genuinely do not know what battles they may be fighting. Running time: approximately 60 minutes. The performance runs from July 9 to 12 at Tarragon Theatre's Extraspace. PAINTED FERN PRODUCTIONS present 'Who Drinks Mocktails on the Beach' by Sara Mayfield Performed by Sara Mayfield Directed by Damon Bradley Jang Costume Designer: Shannon Tauber Previous Next

A deconstruction of an individual's story. Back Who Drinks Mocktails on the Beach TORONTO FRINGE Now on stage at Tarragon Theatre's Extraspace 30 Bridgman Avenue Courtesy: Winnipeg Fringe Joe Szekeres "A courageous and sometimes sobering look at a problematic societal issue. 'Mocktails' becomes that important periodic reminder to all of us to be kind, because we often don't know what's going on in the lives of others. Sara Mayfield is a marvel in maintaining a realistically emotional balance of highs and lows." Travelling solo, Candace (Sara Mayfield) is on her way to a Mexican destination wedding of her best friend, Jacki, and her soon-to-be husband, Ken. Upon ordering a drink from the Vancouver airport bar, Candace breaks the fourth wall and speaks to the audience. Mayfield performs a nearly one-hour-long monologue that scales the highs and lows of Candace's personal and familial relationships. Hints of substance abuse occur near the top of the show. Candace downs her drink to help calm her nerves during the flight. When she arrives at the hotel before the wedding, she uses alcohol to help unwind after her flight. She sits in the lobby, watching some of the other guests and keenly observing what's going on around her. We also see how Candace behaves and responds to others at the wedding. There are moments where she feels alone in this sea of happiness for the bride and groom. As the story continues, Candace shares details from her past with the audience. Some include the night she hooked up with a guest at the hotel and an ex-boyfriend who had a fetish for feet, Candace's in particular. A heartfelt moment is the time she recounts losing Jacki's pet cat while she was away, which altered their friendship forever. Candace also shares how Jacki met her fiancé, Ken. This introduction bothers her because she doesn't have a significant other in her life at the moment. All the while, Candace continues drinking at the bar. She has a problem with alcohol and has always used it as a crutch to deal with the hardships in her life. The simplicity of the staging (a lone chair) allows the play's impact to resonate. Lighting design smoothly transitions from brightly focused to a follow across the stage as Mayfield moves around. What an effective costume idea of designer Shannon Tauber to have Mayfield wear a blue dress. While 'blue' signifies calm and tranquillity, on hearing the roar of the ocean waves, the colour can also mean something else. For some, blue becomes a trustworthy colour. If that is one understanding, I agree with it. Mayfield earns my complete trust as she shares her story. For others, blue can also mean sadness or discontent. If this is another understanding, I buy it entirely as well. Underneath Candace's 'party girl' persona lies a scared individual for a sundry of reasons. As a result, she develops a problem that needs to be addressed and requires some help. Damon Bradley Jang directs with a clear vision. He doesn't hit the audience over the head immediately with this problematic societal issue of alcohol abuse. Instead, he allows Mayfield to explore gradually through comic and poignant moments what is occurring within Candace. The pacing never feels rushed as the audience, and then Candace, finally sees what's going on and that the young woman needs help. Sara Mayfield remains a marvel in maintaining a realistically emotional balance of highs and lows in her Candace. The humorous moments made me smile without it becoming way over the top. The same occurred with the poignant moments that never descended into over-the-top despondency. Mayfield remains in complete control as she shares her story. She allows the audience to feel what she feels internally. 'Who Drinks Mocktails on the Beach?' becomes a vital teaching monologue for young people to understand that one does not need alcohol to fit in. Mayfield's script serves as a sobering reminder to be kind to others, as we genuinely do not know what battles they may be fighting. Running time: approximately 60 minutes. The performance runs from July 9 to 12 at Tarragon Theatre's Extraspace. PAINTED FERN PRODUCTIONS present 'Who Drinks Mocktails on the Beach' by Sara Mayfield Performed by Sara Mayfield Directed by Damon Bradley Jang Costume Designer: Shannon Tauber Previous Next BACK TO TOP

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

Where theatre is not only presented on the stage. Back Pornstar at Toronto Fringe Now on stage in the Distillery District at the Young Centre for the Performing Arts Credit: Brintha Manoharan Joe Szekeres 'Pornstar' needs another fresh look at the script. Glaring technical issues in blocking and directorial vision impede the show from attaining its full potential." I must applaud Tharshan Raj and his friend Mayurathan Thevathas. 'Pornstar' marks their debut as theatre co-writers with this 2025 Toronto Fringe show. I had to do some research about them first. From what I found, both Tharshan and Mayurathan aim to continue bringing bold stories to the stage that challenge the mainstream's narrow representation by showcasing South Asian characters in unconventional roles. This decision to confront and break boundaries in the way audiences perceive traditional narratives is an admirable one. I hope they will continue to hone their skills as theatre writers. It's 2003. Ari (Tharshan Raj) works in the adult film industry in Montreal. When his mother, Kavitha (Sumathy Balaram), sister, Abby (Sahana Srikandarajah), and Aunt Rani (Jereen Ignatious) discover what Ari does for a living, the once-familial world Ari knows back home erupts into chaos. Rani is the one who knocks at Kavitha's door early in the morning to bring the news of Ari's job in Montreal. While in the process, Abby also wakes up to see what's going on. Ari knows he must travel back home to Toronto to have some uncomfortable conversations with his family. There is an unseen father who works in Dubai who leaves some angry messages on the phone when word comes out about his son's job.' The production company Seven Studios and Events bills' Pornstar' as a bold, unflinching 'dramedy' that blends humour and heart to explore identity, acceptance, and the complexities of breaking free from societal expectations. I will admit the play's title caught my eye when I went through the Festival Book. The actors are committed to telling the story from a unique perspective. Their voices need to be heard, and that's commendable because the theatre is all about hearing as many voices as possible. While individual costume choices effectively delineate the characters, some glaring technical issues are puzzling from an audience perspective. The first is calling 'Pornstar' a 'dramedy.' It comes across more as satire, most notably in Raj's over-the-top performance as Ari and the music that plays in the background each time he enters. As co-director, Thevathas bears significant responsibility for the direction, while Raj must focus on developing Ari's character. Mayurathan's eyes must constantly move around the stage to ensure pacing is maintained. It's not happening. Several blocking issues, as well as glaring technical errors, become highly noticeable. For one, the scene changes in blackout bring the action to a complete halt. It is the audience who has to rebuild interest in the plot again, and that shouldn't be happening. It would also be a good idea to have some pre-selected music playing during the set change so there isn't an awkward silence. There are also lighting issues, where characters appear in shadow when speaking. The actors must know how to find their light whenever that occurs. The set and props appear cramped at centre-stage. Could the playing space be made a tad larger? At times, actor movements appear awkward. They get in each other's way. The actors also need some training in delivering lines. Most of the time, there appears to be a great deal of shouting, and no one seems to listen and respond to what they are hearing from each other. Final Comments: Yes, 'Pornstar' is a valiant attempt to break barriers, and I hope the co-playwrights and co-directors continue honing their skills in the theatre. A fresh look at the script again would be of tremendous benefit to begin what needs to be cut and fleshed out further. Running time: approximately 60 minutes. 'Pornstar' runs July 6, 7, 9. 10, 12 and 13 in the Young Centre for The Performing Arts in the Distillery District. For tickets: fringetoronto.com. 7 STUDIOS & EVENTS Incorporated present PORNSTAR Producer: Tharshan Raj Director: Tharshan Raj, Mayurathan Thevathas Writers: Tharshan Raj, Mayurathan Thevathas Stage Manager and Lighting Designer: Mayurathan Thevathas Set Designer: Mayurathan Thevathas Cast: Tharshan Raj, Sahana Srikandarajah, Sumathy Balaram, Jereen Ignatious Previous Next

Now on stage in the RBC Finance Studio at Toronto's Young Centre for the Performing Arts in the Distillery District Back Divine Monster at Toronto Fringe Now on stage in the RBC Finance Studio at Toronto's Young Centre for the Performing Arts in the Distillery District Courtesy of Bernhardt Productions and Toronto Fringe website Joe Szekeres "A fascinating 'ghostly' concept acutely brought to life by three talented actors." Playwright Elena Kaufman's thought-provoking ghostly script takes place in Paris, France's Père Lachaise Cemetery. It is night. The ghost of famed actress Sarah Bernhardt (Bonnie Anderson) stands by her headstone. Bernardt remains unable to move on in the afterlife because she has unfinished business. Martha (Hope Goudsward), an embittered young Canadian musician, has just broken up with her female partner. Martha comes to the cemetery to seek solace in the comfort and quiet of the place. At one point, the young musician contemplates suicide because she feels alone, lost and vulnerable. For some inexplicable reason, Martha can communicate with Sarah. It's a rare blood moon on this night, and ghosts can sometimes exchange places with humans if the person is willing to do so. The two begin a conversation about modern social media, art, fame, success and the details of their lives. Martha learns of Bernhardt's sometimes notoriety, along with her successes on the stage. Sarah learns what life is like in the 21st century, experiencing some humorous misunderstandings along the way. While the two ladies converse back and forth, a lone gentleman (Greg Campbell) plays several parts in Sarah's life. He represents the ghosts of several who have already passed on. He will also comment on the discussion between Sarah and Martha. There are moments of wit and comedy in 'Divine Monster', while several scenes become piercingly sharp in their comparison of the twenty-first-century world to the world of Sarah Bernhardt. It's a sparse stage, suggesting that the ethereal and corporeal worlds have come together in the cemetery, thanks to Eric Koski-Harja's gray shades in his lighting design. Bernhardt's headstone can be found centre stage. Anderson and Campbell are dressed in 19th-century clothing, while Goudsward is dressed in contemporary 21st-century style. Mary Dwyer directs the script with a sense of curiosity and wonder. This is the first thought that struck me upon leaving the auditorium at the conclusion. How often have any of us ever thought about how exciting it might be to converse with someone who has passed away years ago? If that person came to life, what would he/she say about the world in which we now find ourselves? What would we say to the deceased about the life from whence they came? The production is dialogue-driven, so audiences will have to pay close attention, as a great deal of information is shared. It's all handled well, thanks to three talented actors who make these characters magically appealing. Greg Campbell becomes a reminder of the past from long ago. His characters are often silent, but Campbell listens carefully to the discussion between Anderson and Goudsward. Campbell's face at times appropriately indicates what he's thinking even when he says nothing. Goudsward thankfully doesn't make Martha a whiny and entitled Gen Zer in the production. There are depths to understanding the young woman. Yes, Martha is an artist, and yes, Martha feels deeply when she is hurt by her girlfriend/fiancée. But Martha understands the world doesn't revolve around her alone, especially when she 'Googles' Sarah Bernhardt's name to learn more about this woman's historical importance. Anderson is quite lovely in the role of the famed actress. She imbues her Sarah with mystery, wit, sass, and compassion, most notably in her efforts to understand Martha's place in the 21st-century world. Final Comments: 'Divine Monster' should stay in our minds upon leaving the auditorium. The play asks us who might walk with us from the past? Are these voices from the deceased and past still waiting to be heard? See it. Running time: approximately 50 minutes. The running dates are July 8, 10, 11, and 12 at the RBC Finance Studio in Toronto's Distillery District. For tickets: www.fringetoronto.com BERNHARDT PRODUCTIONS presents 'Divine Monster' by Elena Kaufman Directed by Mary Dwyer Produced by Debra Hale Stage Manager: Zahra Esmail Production Assistant: Steve Collins Previous Next

Where theatre is not only presented on the stage. Back Divine Monster at Toronto Fringe Now on stage in the RBC Finance Studio at Soulpepper Theatre Toronto's Young Centre for the Performing Arts in the Distillery District Courtesy of Bernhardt Productions and Toronto Fringe website Joe Szekeres "A fascinating 'ghostly' concept acutely brought to life by three talented actors." Playwright Elena Kaufman's thought-provoking ghostly script takes place in Paris, France's Père Lachaise Cemetery. It is night. The ghost of famed actress Sarah Bernhardt (Bonnie Anderson) stands by her headstone. Bernardt remains unable to move on in the afterlife because she has unfinished business. Martha (Hope Goudsward), an embittered young Canadian musician, has just broken up with her female partner. Martha comes to the cemetery to seek solace in the comfort and quiet of the place. At one point, the young musician contemplates suicide because she feels alone, lost and vulnerable. For some inexplicable reason, Martha can communicate with Sarah. It's a rare blood moon on this night, and ghosts can sometimes exchange places with humans if the person is willing to do so. The two begin a conversation about modern social media, art, fame, success and the details of their lives. Martha learns of Bernhardt's sometimes notoriety, along with her successes on the stage. Sarah learns what life is like in the 21st century, experiencing some humorous misunderstandings along the way. While the two ladies converse back and forth, a lone gentleman (Greg Campbell) plays several parts in Sarah's life. He represents the ghosts of several who have already passed on. He will also comment on the discussion between Sarah and Martha. There are moments of wit and comedy in 'Divine Monster', while several scenes become piercingly sharp in their comparison of the twenty-first-century world to the world of Sarah Bernhardt. It's a sparse stage, suggesting that the ethereal and corporeal worlds have come together in the cemetery, thanks to Eric Koski-Harja's gray shades in his lighting design. Bernhardt's headstone can be found centre stage. Anderson and Campbell are dressed in 19th-century clothing, while Goudsward is dressed in contemporary 21st-century style. Mary Dwyer directs the script with a sense of curiosity and wonder. This is the first thought that struck me upon leaving the auditorium at the conclusion. How often have any of us ever thought about how exciting it might be to converse with someone who has passed away years ago? If that person came to life, what would he/she say about the world in which we now find ourselves? What would we say to the deceased about the life from whence they came? The production is dialogue-driven, so audiences will have to pay close attention, as a great deal of information is shared. It's all handled well, thanks to three talented actors who make these characters magically appealing. Greg Campbell becomes a reminder of the past from long ago. His characters are often silent, but Campbell listens carefully to the discussion between Anderson and Goudsward. Campbell's face at times appropriately indicates what he's thinking even when he says nothing. Goudsward thankfully doesn't make Martha a whiny and entitled Gen Zer in the production. There are depths to understanding the young woman. Yes, Martha is an artist, and yes, Martha feels deeply when she is hurt by her girlfriend/fiancée. But Martha understands the world doesn't revolve around her alone, especially when she 'Googles' Sarah Bernhardt's name to learn more about this woman's historical importance. Anderson is quite lovely in the role of the famed actress. She imbues her Sarah with mystery, wit, sass, and compassion, most notably in her efforts to understand Martha's place in the 21st-century world. Final Comments: 'Divine Monster' should stay in our minds upon leaving the auditorium. The play asks us who might walk with us from the past? Are these voices from the deceased and past still waiting to be heard? See it. Running time: approximately 50 minutes. The running dates are July 8, 10, 11, and 12 at the RBC Finance Studio in Toronto's Distillery District. For tickets: www.fringetoronto.com BERNHARDT PRODUCTIONS presents 'Divine Monster' by Elena Kaufman Directed by Mary Dwyer Produced by Debra Hale Stage Manager: Zahra Esmail Production Assistant: Steve Collins Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back Playground, A New Family Musical TORONTO FRINGE Now on stage in Soulpepper Theatre's Garland Cabaret in the Young Centre for the Performing Arts Credit: Daniella McNeill featuring Zoe Deanna Virola, Yunike Soedarmasto, Misha Sharivker, Meredith Shedden, Ian Kowalski Joe Szekeres VOICE CHOICE "Whimsical! Imaginative! Creative! This 'Playground' becomes delightful for children. Wholeheartedly recommend!" Even as I approach 65 years of age (a senior), I couldn't help but leave PLAYGROUND, a new Family Musical, with a big ol' smile on my face. Watching the enthralled young children with their families also earns this show a VOICE CHOICE (Reviewer's Pick). We have entered the world of Grade 3. Precocious new kid Eliot (an engaging and endearing Misha Sharivker) arrives at school. He's introduced to the other children in the class: Bea (Yunike Soedarmasto), Charlie (Lizzie Song), Jojo (Ian Kowalski), Meredith Shedden and Cayne Kitagawa, who genuinely become young children in their physical stances. These young performers are ones I'd like to keep an eye on in future work. Teacher Miss Singer (Olivia Daniels) takes pride in allowing children to discover and fully utilize their imaginations. However, Eliot ends up in Principal Grey's (Joe Matheson) office. Eliot and two of his friends ended up huddled outside, taking cover during a raging thunderstorm after playing a game outside when they should have gone into the school building. 'Playground' is based on the songs of four-time Juno Award-winning children's singer-songwriter, Jack Grunsky, who plays guitar in the band at stage right. Throughout the 60-minute running time, 'Playground' bills itself as exploring a variety of musical genres, including sounds and rhythms from a colourful palette of global musical instruments. Creators Elly Barlin Daniels, Olivia Daniels and Amanda Freedman capture the innocence of childhood and the loving spirit of Grunsky's music with great aplomb and an open, joyful heart. Olivia Daniels directs with a strong sense of whimsy and imagination. It's refreshing to see a children's show that doesn't heavily rely on theatrical tricks. The show asks the audience to use their imagination. When that occurs, the world of make-believe magically opens up in the Garland Cabaret in the Distillery District's Young Centre for the Performing Arts. Quynh Diep's simple set design allows for ease and flow of traffic and action. Niall Durcan's lighting design brightly focuses attention where needed. Jason Dauvin selects clothing styles that wonderfully evoke what young children might wear in the school playground. As Music Director, Grunsky dutifully ensures there's a smooth balance between the voices and the band so that the latter doesn't overpower the former. Sarah Schryburt's choreography is simple yet magnetically captures the attention span of the young folk. The cast is terrific. Each becomes a believable child, whether it's through pulling on her dress or fidgeting at the desk while listening to the teacher. As Miss Singer, Olivia Daniels believably becomes the teacher all parents wish they had for their children. She knows how to engage children, whether it's with a wink, a glance, or even a quick smile. Joe Matheson's Principal Grey is all business as he tries to determine why Eliot would keep his friends outside during a thunderstorm. Matheson also becomes caught up in the whimsy of the story. He appropriately lets his guard down as the leader of the school to remember why he got into education in the first place – to make a difference in the lives of children. He too joyfully joins in at the end, and it's terrific to watch him as well sing with a smile on his face. Final Comments: Most enjoyable. Please get to see PLAYGROUND. Running time: approximately 60 minutes. The performance runs July 8, 9, 10, 12 and 13 in the Soulpepper Theatre's Garland Cabaret. For tickets, visit www.fringetoronto.com . CATCHY TUNES PRODUCTIONS presents PLAYGROUND, A New Family Musical Based on the music of 4 four-time Juno Award-winning children's singer-songwriter, Jack Grunsky Music and Lyrics by Jack Grunsky Created by Elly Barlin-Daniels, Olivia Daniels and Amanda Freedman Directed by Olivia Daniels Musical Director: Jack Grunsky Choreographer: Sarah Schryburt Set Design: Quynh Diep Costume Design: Jason Dauvin Lighting Design: Diall Durcan Stage Manager: Bella Szpala Producers: Elly Barlin-Daniels and Olivia Daniels Performers: Misha Sharivker, Yunike Soedarmasto, Lizzie Song, Zoe Virola, Ian Kowolski, Olivia Daniels, W. Joseph Matheson, Meredith Shedden, Cayne Kitigawa Band: Jack Grunsky, Cosima Grunsky, Henry Heillig Previous Next

When music and song are used to tell a story. Musicals Playground, A New Family Musical TORONTO FRINGE Click Here The Frogs Click Here Dirty Rotten Scoundrels Click Here After the Rain Click Here Peter Pan Click Here Waitress Click Here ALMOST EVER AFTER A New Musical TORONTO FRINGE Click Here Waitress Port Hope Click Here Beetlejuice, The Touring Production Click Here Annie Click Here Alice in Wonderland Click Here Inside American Pie Click Here

Now on stage as part of Toronto Fringe 2025 at the Young Centre for the Performing Arts in the Distillery District. Back Things My Dad Kept Now on stage as part of Toronto Fringe 2025 at the Young Centre for the Performing Arts in the Distillery District. Credit: Matthew McLaren (@wut.storytelling and @matthewmclaren8040) Pictured: Ronit Rubinstein in performance Joe Szekeres "A smile-inducing and heartwarming solo monologue of storytelling detailing grief and moving forward in loss. Ronit Rubinstein engages with humour, wit, sensitivity and compassion." A challenge of a show to see, especially if you are in the throes of grief and loss of a parent, as I am. Even though it has been one year since I lost my mother, 'Things My Dad Kept' becomes a reminder that those who are grieving are not alone. Although grieving becomes a lifelong process, we move forward at our own pace and in our own time. Today's performance of 'Things My Dad Kept' was relaxed, meaning the lights did not dim completely. If audiences are moved and need to exit the auditorium for a few minutes to compose themselves, the opportunity is there. Ronit Rubinstein appears just before the show starts. She wears a strawberry-coloured dress with a small strawberry purse and comfortable shoes. As she begins to address a few housekeeping details, she makes us feel comfortable and relaxed before hitting us with a dose of reality that will occur to each of us. Ronit still mourns her father twelve years after his passing, but reality sets in. Her mother decides to sell the family home, and they need to empty it. Ronit remembers her father's filing cabinet, which has remained untouched since his passing. She now must confront the task of emptying its contents. When this context is established, Ronit takes the audience through a paper airplane tutorial. She selects three audience volunteers who will throw their paper airplanes on the stage. The order in which they land determines the order of the show. Upon entering the auditorium, the audience sees the filing cabinet. Ronit's name is on one of the drawers. The audience also learns that her father had drawers for her half-siblings and her mother. 'Things My Dad Kept' focuses on the file cabinet, which houses dozens of meticulously organized file folders preserved by year, celebrating every significant moment of Ronit's life. (usually in triplicate) As Ronit pulls out items, she begins sharing memories of what these items meant – whether they are household items or notes and letters he wrote with his initials at the bottom, rather than "Dad." We also learn about her father and his parents' wartime experiences during World War II. Janelle Hanna directs Rubinstein with a sincerity and compassion to her familial subject matter. There were a couple of moments where Rubinstein's voice became choked with emotion as she bared her soul about what occurred at that time in her life. She doesn't allow her feelings to control her. She feels the emotion, briefly pauses and then continues telling the narration calmly. What did I learn from 'Things My Dad Kept?' Each of us keeps things when our parents are gone. In my case, while I kept certain tangible items from my mother – her wedding photos, a few knick knacks and my parents' wedding rings, there are far more valuable items that I will cherish in memory of her – my mother's smile, her compassion, her wit and her love of family and the Catholic faith. The 60-minute running time flies by. I didn't once look at my watch. Ronit Rubinstein is a wonderful storyteller. She's Canadian and she's one of us. Ronit invites audience members after the show to speak with her and share memories of their parents, who have passed away. I took a deep breath and went up to her to talk about how I'm still missing my mother even after a year. She asked if she could give me a hug, which I graciously accepted. She thanked me for sharing my story with her in this sacred space. A moving monologue of storytelling coupled with humour and wit. Please see 'Things My Dad Kept.' I hear the performance is selling out quickly. Go to www.fringetoronto.com to secure tickets. MOM AND POP PRODUCTIONS present THINGS MY DAD KEPT by Ronit Rubinstein Director: Janelle Hanna Stage Manager: Maria Charlesworth Performer: Ronit Rubinstein Previous Next

A deconstruction of an individual's story. Back Things My Dad Kept Now on stage as part of the Toronto Fringe 2025 at the Young Centre for the Performing Arts in the Distillery District Credit: Matthew McLaren (@wut.storytelling and @matthewmclaren8040) Pictured: Ronit Rubinstein in performance Joe Szekeres A smile-inducing and heartwarming solo monologue of storytelling detailing grief and moving forward in loss. Ronit Rubinstein engages with humour, wit, sensitivity and compassion." A challenge of a show to see, especially if you are in the throes of grief and loss of a parent, as I am. Even though it has been one year since I lost my mother, 'Things My Dad Kept' becomes a reminder that those who are grieving are not alone. Although grieving becomes a lifelong process, we move forward at our own pace and in our own time. Today's performance of 'Things My Dad Kept' was relaxed, meaning the lights did not dim completely. If audiences are moved and need to exit the auditorium for a few minutes to compose themselves, the opportunity is there. Ronit Rubinstein appears just before the show starts. She wears a strawberry-coloured dress with a small strawberry purse and comfortable shoes. As she begins to address a few housekeeping details, she makes us feel comfortable and relaxed before hitting us with a dose of reality that will occur to each of us. Ronit still mourns her father twelve years after his passing, but reality sets in. Her mother decides to sell the family home, and they need to empty it. Ronit remembers her father's filing cabinet, which has remained untouched since his passing. She now must confront the task of emptying its contents. When this context is established, Ronit takes the audience through a paper airplane tutorial. She selects three audience volunteers who will throw their paper airplanes on the stage. The order in which they land determines the order of the show. Upon entering the auditorium, the audience sees the filing cabinet. Ronit's name is on one of the drawers. The audience also learns that her father had drawers for her half-siblings and her mother. 'Things My Dad Kept' focuses on the file cabinet, which houses dozens of meticulously organized file folders preserved by year, celebrating every significant moment of Ronit's life. (usually in triplicate) As Ronit pulls out items, she begins sharing memories of what these items meant – whether they are household items or notes and letters he wrote with his initials at the bottom, rather than "Dad." We also learn about her father and his parents' wartime experiences during World War II. Janelle Hanna directs Rubinstein with a sincerity and compassion to her familial subject matter. There were a couple of moments where Rubinstein's voice became choked with emotion as she bared her soul about what occurred at that time in her life. She doesn't allow her feelings to control her. She feels the emotion, briefly pauses and then continues telling the narration calmly. What did I learn from 'Things My Dad Kept?' Each of us keeps things when our parents are gone. In my case, while I kept certain tangible items from my mother – her wedding photos, a few knick knacks and my parents' wedding rings, there are far more valuable items that I will cherish in memory of her – my mother's smile, her compassion, her wit and her love of family and the Catholic faith. The 60-minute running time flies by. I didn't once look at my watch. Ronit Rubinstein is a wonderful storyteller. She's Canadian and she's one of us. Ronit invites audience members after the show to speak with her and share memories of their parents, who have passed away. I took a deep breath and went up to her to talk about how I'm still missing my mother even after a year. She asked if she could give me a hug, which I graciously accepted. She thanked me for sharing my story with her in this sacred space. A moving monologue of storytelling coupled with humour and wit. Please see 'Things My Dad Kept.' I hear the performance is selling out quickly. Go to www.fringetoronto.com to secure tickets. MOM AND POP PRODUCTIONS present THINGS MY DAD KEPT by Ronit Rubinstein Director: Janelle Hanna Stage Manager: Maria Charlesworth Performer: Ronit Rubinstein Previous Next BACK TO TOP

Now on stage in Soulpepper's Garland Cabaret in the Young Centre for the Performing Arts Back Playground, A New Family Musical TORONTO FRINGE Now on stage in Soulpepper's Garland Cabaret in the Young Centre for the Performing Arts Credit: Daniella McNeill featuring Zoe Deanna Virola, Yunike Soedarmasto, Misha Sharivker, Meredith Shedden, Ian Kowalski Joe Szekeres VOICE CHOICE "Whimsical! Imaginative! Creative! This 'Playground' becomes delightful for children. Wholeheartedly recommend!" Even as I approach 65 years of age (a senior), I couldn't help but leave PLAYGROUND, a new Family Musical, with a big ol' smile on my face. Watching the enthralled young children with their families also earns this show a VOICE CHOICE (Reviewer's Pick). We have entered the world of Grade 3. Precocious new kid Eliot (an engaging and endearing Misha Sharivker) arrives at school. He's introduced to the other children in the class: Bea (Yunike Soedarmasto), Charlie (Lizzie Song), Jojo (Ian Kowalski), Meredith Shedden and Cayne Kitagawa, who genuinely become young children in their physical stances. These young performers are ones I'd like to keep an eye on in future work. Teacher Miss Singer (Olivia Daniels) takes pride in allowing children to discover and fully utilize their imaginations. However, Eliot ends up in Principal Grey's (Joe Matheson) office. Eliot and two of his friends ended up huddled outside, taking cover during a raging thunderstorm after playing a game outside when they should have gone into the school building. 'Playground' is based on the songs of four-time Juno Award-winning children's singer-songwriter, Jack Grunsky, who plays guitar in the band at stage right. Throughout the 60-minute running time, 'Playground' bills itself as exploring a variety of musical genres, including sounds and rhythms from a colourful palette of global musical instruments. Creators Elly Barlin Daniels, Olivia Daniels and Amanda Freedman capture the innocence of childhood and the loving spirit of Grunsky's music with great aplomb and an open, joyful heart. Olivia Daniels directs with a strong sense of whimsy and imagination. It's refreshing to see a children's show that doesn't heavily rely on theatrical tricks. The show asks the audience to use their imagination. When that occurs, the world of make-believe magically opens up in the Garland Cabaret in the Distillery District's Young Centre for the Performing Arts. Quynh Diep's simple set design allows for ease and flow of traffic and action. Niall Durcan's lighting design brightly focuses attention where needed. Jason Dauvin selects clothing styles that wonderfully evoke what young children might wear in the school playground. As Music Director, Grunsky dutifully ensures there's a smooth balance between the voices and the band so that the latter doesn't overpower the former. Sarah Schryburt's choreography is simple yet magnetically captures the attention span of the young folk. The cast is terrific. Each becomes a believable child, whether it's through pulling on her dress or fidgeting at the desk while listening to the teacher. As Miss Singer, Olivia Daniels believably becomes the teacher all parents wish they had for their children. She knows how to engage children, whether it's with a wink, a glance, or even a quick smile. Joe Matheson's Principal Grey is all business as he tries to determine why Eliot would keep his friends outside during a thunderstorm. Matheson also becomes caught up in the whimsy of the story. He appropriately lets his guard down as the leader of the school to remember why he got into education in the first place – to make a difference in the lives of children. He too joyfully joins in at the end, and it's terrific to watch him as well sing with a smile on his face. Final Comments: Most enjoyable. Please get to see PLAYGROUND. Running time: approximately 60 minutes. The performance runs July 8, 9, 10, 12 and 13 in the Soulpepper Theatre's Garland Cabaret. For tickets, visit www.fringetoronto.com . CATCHY TUNES PRODUCTIONS presents PLAYGROUND, A New Family Musical Based on the music of 4 four-time Juno Award-winning children's singer-songwriter, Jack Grunsky Music and Lyrics by Jack Grunsky Created by Elly Barlin-Daniels, Olivia Daniels and Amanda Freedman Directed by Olivia Daniels Musical Director: Jack Grunsky Choreographer: Sarah Schryburt Set Design: Quynh Diep Costume Design: Jason Dauvin Lighting Design: Diall Durcan Stage Manager: Bella Szpala Producers: Elly Barlin-Daniels and Olivia Daniels Performers: Misha Sharivker, Yunike Soedarmasto, Lizzie Song, Zoe Virola, Ian Kowolski, Olivia Daniels, W. Joseph Matheson, Meredith Shedden, Cayne Kitigawa Band: Jack Grunsky, Cosima Grunsky, Henry Heillig Previous Next

Where theatre is not only presented on the stage. Back The Newfoundland Songbook presented by Shipyard Kitchen Party Now on stage until July 13 in the Sculthorpe Theatre upstairs at Port Hope's Capitol Theatre, 20 Queen Street Shipyard Kitchen Party Joe Szekeres "Joyous! Rousing! If a staged kitchen party is any indication of the camaraderie and fun, I want to experience the real thing. Warm and affectionate storytelling with a spontaneous love of life." Now I wish the Newfoundland tour I was on several years ago had included an actual kitchen party. That would be a hell of a lotta fun. Port Hope's Capitol Theatre brings that fun to 20 Queen Street East with Shipyard Kitchen's Party's 'The Newfoundland Songbook'. In the Capitol's Sculthorpe kitchen, there's laughter, music, songs, and even the odd cell phone ring going off during the show, which the performers incorporated without letting it faze them at all. What a hoot this opening night was. Stepping into the Capitol's Sculthorpe Theatre upstairs, we're greeted by rousing East Coast music plus a genuine warmth and affection for everyone who's in attendance. Some terrific artists are on hand to share stories with conviction, compassion, wit, and a dash of double entendres. 'The Newfoundland Songbook' is performed and sung with a genuine heart and love for others, the spoken and sung word. There are guitars and a fiddle, and seamless transitions from one song to the next. What more can anyone ask for on this beautiful summer evening? On its website, Shipyard Kitchen Party bills itself as blending traditional instrumentation with humour, artistry and history to tell Canadian stories, our stories, and even YOUR stories in original ways. John Eaton, Sacha Law, Jason Murphy, Derek McLean, Jason Redman, and Saskia Tomkins uniquely embody that East Coast spirit of spontaneity and sass. Hearing their East Coast accents makes me want to go back again VERY SOON. I've heard that tickets are selling quickly, and some shows might already be sold out. Treat yourselves. See the show. Running time: approximately one hour and 30 minutes with one intermission. The show runs until July 13 in the upstairs Sculthorpe Theatre at Port Hope's Capitol Theatre, 20 Queen Street. For tickets: capitoltheatre.com or call (905) 885-1071. CAPITOL THEATRE presents 'The Newfoundland Songbook' by Shipyard Kitchen Party Director of Production: Katherine Smith Head LX and Sound: Christine Heriot Production Coordinator: Charlene Saroyan Performers: John Eaton, Sacha Law, Jason Murphy, Derek McLean, Jason Redman and Saskia Tomkins Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back The Frogs Now on stage in Barrie and will transfer to the grounds of The Shaw Festival July 11-13 Credit: Dahlia Katz Joe Szekeres "Another quirky Sondheim musical that still resonates. Humorous and Insightful in the intimate outdoor setting of a Barrie home. The witty cast makes the production a crowd pleaser." Freely adapted by Stephen Sondheim, Burt Shevelove and an even freer adaptation by Nathan Lane (known to play many of Sondheim's works,) 'The Frogs' is a musical that I've rarely seen performed from my experience. A quick online search revealed that it sometimes appears on college and university campuses, as well as in some smaller theatres. The first production of 'The Frogs' took place in the Yale University swimming pool in 1974. That's a cheeky choice, but it's a good one. Why? Frogs need water to survive. The River Styx holds great importance, as a significant portion of the plot unfolds around water. An often-hilarious retelling of Aristophanes' tale of the same title, the god of wine and drama, Dionysos (John-Michael Scapin), has lost all faith in a divided humanity while watching the Peloponnesian War. The political climate is a hotbed of a mess. The only solution for Dionysos is to travel to Hades with loyal servant Xanthias (Taylor Garwood) to bring back a favourite writer – George Bernard Shaw (Richard Lam) – and to end the war and return stability, particularly in the shaky world of the arts and artists. While venturing to Hades, outlandish comedy follows. Dionysos receives advice ironically from his half-brother Herakles (Kyle Brown) while confronting a frightening reality: Frogs in the River Styx. Upon arrival in Hades, Dionysos must avoid all temptation while there to complete his task – finding George Bernard Shaw. Dionysos finds Shaw but also another writer who has probably held just as much influence – that of William Shakespeare (Nolan Moberly). In this energetically spirited Talk is Free production, we are on the spacious outdoor grounds of a private home in Barrie. The time is present. The setting is Ancient Greece. Set Designer Vavara Evchuk's intimate theatre-in-the-round setting works well. The audience sits mere feet away from the fast-moving plot action. Evchuk's costume selection remains colourful. I especially liked the green colour on the Frogs' costumes. Scapin's designer-looking summer suit is the perfect touch for the all-powerful Dionysos. Jeff Soucy selects props that, at first glance, might not seem necessary. They do as the show continues. For example, an origami frog sits centre stage at the top of the show. When I first saw it, I couldn't figure out what the object was from my seat. The origami frog makes sense later in Act One. Erik Richards' sound design remains top-notch throughout. Thank you for allowing me to hear everything, from the burbling water during the pre-show soundscape design to the sound of croaking frogs and the sometimes delicious yet naughty innuendo behind the lyrics. Shadowy lighting effects by Nic Vincent also create the feeling that there's something uniquely distinct about the world we have just entered. The creative collaboration team, comprising choreographer Julio Fuentes, music director Ben Page, and director Griffin Hewitt, is stellar. The three certainly know a thing or two about staging a show where timing must fly like the wind. Several of Fuentes' musical numbers are sharp in their staging. The performers move around in front of, around, and behind the audience and upstage towards them with impeccable precision in quick timing. "I Love to Travel" caught my attention as the characters move in soldier-like precision as if they are on parade. Ben Page's work in music direction focuses awareness on the humour or commentary behind the musical number. His shtick at the top of Act 2, just before the performance continues, is a delightful throwback number to the ol' vaudeville stages. Griffin Hewitt makes some dandy choices in his capable hands as director. The first is to keep the production as intimate as possible by staging the action in front and behind the audience seating area. By doing this, Hewitt's next choice to have audience participation makes sense since we already feel part of the play. If you become part of the action of the moment, go along for the ride. The strong ensemble of actors is the main reason to see the show either in Barrie or at the Shaw Festival when it transfers. The actors are constantly on the move. They dutifully maintain the quick pace necessary to sustain audience interest in the show. Richard Lam opens the show by breaking the fourth wall and speaking to the audience. He's confident and strong. He also has a great deal of fun with the text this early in the play. Due to the U.S. tariffs, Lam informs the audience that director Hewitt was unable to fully cast the ensemble because the rights to pay were astronomically high. The audience, therefore, will sometimes function as the chorus. Lam remains assured when he speaks as George Bernard Shaw in voice and stature. His business in 'facing off' with Nolan Moberly's William Shakespeare, as both men quote their respective works aloud, reveals a grounded credibility in both actors. Like Lam, Moberly remains confident and strong in his Shakespeare. It's a challenge to decide who has the most substantial artistic and literary influence. Lam and Moberly remain grounded. Each sounds convincing in his soliloquy work. John-Michael Scapin's tall, lanky frame adds credence to his performance as a towering Dionysos. His smartly coiffed Miami Vice (wow, this reference makes me old) dazzling white couture 90s suit marks Scapin's uniqueness as a major God from Greek mythology. As Xianthias, Taylor Garwood is a loyal and trusted compatriot to Scapin's Dionysos. The former delivers zestfully some one-line zingers just as the latter does, all in the name of love and care for their leader. The relationship is sweetly charming but not sappy. As Dionysos's half-brother, Herakles, Kyle Brown pokes fun at another of the great Greek gods. While Herakles is known to be a strong warrior, Brown's effeminate portrayal is a riot but never becomes uncomfortable. Brown showcases his vocal range, flair and style in his musical number' Dress Big' with vivacity. This outdoor production also delves deeper into the elements of war and what frightens people the most about a world that continues to burn and rage, sometimes with fire (which sounds relatively close to the heart at this time). Adaptor Burt Shevelove (with an even freer adaptation by Lane) refers to some bizarre, unusual, and peculiar elements that creep into the story, making it dramatic for a few moments. When that occurs, most notably in the songs 'Ariadne' and 'Fear No More,' the melodies become quite touching to hear. While 'The Frogs' is rarely performed, please go to see it before the show closes on July 5 in Barrie. Alternatively, you could also see it when it plays on the grounds of the Shaw Festival July 11 – 13. For tickets and more information: www.tift.ca Running time: approximately two hours and 15 minutes with one interval/intermission TALK IS FREE THEATRE, Joan and Robert Gilroy present THE FROGS written in 405 BC by Aristophanes. Freely adapted by Burt Shevelove Even more freely adapted by Nathan Lane Music and Lyrics by Stephen Sondheim Original Direction and Choreography by Susan Stroman Directed by: Griffin Hewitt Music Direction: Ben Page Choreographed by Julio Fuentes Set/Costume Design: Varvara Evchuk Lighting Design: Nic Vincent Sound Design: Erik Richards Production Manager/Props Design: Jeff Soucy Technical Director: Jeff Bornstein Stage Manager: Alana Freistadt Assistant Stage Manager: Conner Bustamente Performers: Kyle Brown, Crystal Casera, Sydney Cochrane, Dean Deffett, Taylor Garwood, Richard Lam, Nolan Moberly, John-Michael Scapin Previous Next

A talk with a professional artist about their career. Back Michael Mori, General and Artistic Director of Tapestry Opera "There's no joy greater than an unexpected joy." Dahlia Katz Joe Szekeres Michael Mori is the General and Artistic Director of Tapestry Opera. According to its website, Tapestry celebrates its 40th anniversary this year with some landmark projects. This is his tenth year in his leadership role as Artistic Director. One of those projects is the return of ‘The Rocking Horse Winner’ based on D. H. Lawrence’s short story. Tapestry’s production runs to November 12 at Toronto’s Crow’s Theatre. In 2016, it was a five-time Dora Award winner in five categories. When I asked him if Michael and the cast were still riding high on that accomplishment, he said: “You know, it was really funny because we were not expecting it. We were up against some terrific work...We were just going for the free party. There’s no joy greater than an unexpected joy. I remember just being thrilled at the time…what I’ve always loved about Tapestry Opera is the original work the company does in the same way that Mozart and Puccini did…this brings out extraordinary performances because everyone is invested in the creation together.” He laughed and said it had been seven years since the Dora win. Everyone had moved on to other projects, so the ‘riding high’ has abated. This coup for Tapestry was in the early years of Mori’s artistic direction. This acknowledgment has helped the company be better known as much as a contemporary opera company in Toronto can be known now. The future looks bright for Tapestry as there are collaborations, co-productions, and commissions. But as Mori concluded this part of our conversation: “It’s onward to the next original thing that we think has something to say.” Mori trained in many places as an artist. He started as a boy soprano in New York and was privileged to sing in an excellent church choir. Through that opportunity, he auditioned as a boy soprano, where his professional career began in opera and off-Broadway musicals. He attended the University of British Columbia and received a bachelor’s and a master’s degree in performance and spent a few summers in Vienna and Salzburg refining his work. Our conversation then steered toward the art of opera and why it continues to be essential and relevant for twenty-first-century audiences. Mori began by discussing the addiction to or the increasing reliance on screens for engaging with ‘art.’ As one of the most sophisticated, complex, and layered art forms, opera is like the perfect counterpart to a screen-obsessed culture. It’s not the fact that people desire screens; they’re just in our lives so much, and we can’t avoid them. The default to screens has made us hungry for something bigger and more attractive. He continues further: “If there’s an antidote to mindless screen time, opera can be that when it’s wonderful. In the set and spectacle design, you can see so much artistry on display in many layers, from the music to the performances. When they work together, it can be overwhelming in the best way, especially when you feel moved and you can’t put a name on it. We don’t have this in the screen world. That’s what I love about opera, including Tapestry, Atelier, and the COC.” Tapestry Opera continues to build its company and artists as a viable twenty-first-century art form inspired by the techniques created over the last 500 years of proto-opera to post-Romantic and contemporary. Toronto is in a beautiful nexus of cultures where we have access to rock and roll, hip hop, Persian, and all kinds of classical music from all over the world that should be incorporated into opera. Some audience members may hear some opera and say: “That’s me.” And that’s what opera should be. How does Mori feel about all these changes in the performing arts industry, as opera falls into this category? “The statistics are that formerly loyal attendees are returning in 50% - 75% numbers, which is catastrophic for legacy companies. But also, we are seeing the highest number of new audiences in recent history, across the board, in theatre, symphony, and opera. The problem in opera is that people don’t donate as those who have been coming to theatre usually do, so there are questions on how to manage that.” Mori sees the considerable opportunity of tying into what opera can offer. After being cooped away for three years, he believes people are looking to be stimulated again and are open to things they haven’t considered before. That’s an excellent opportunity for companies and artists to think about how to really relate to how people consume art now or would like to consume. How can companies and artists make the live experience more thrilling, more compelling, and more friendly for people to engage with and leave appreciative. Our conversation then veered to ‘Rocking Horse Winner.’ I remember reading D. H. Lawrence’s short story many years ago in high school. The production was supposed to have been performed in 2020, but we all know what happened then. The cast recording of ‘Rocking Horse Winner’ has been played on CBC radio several times. From Michael’s vision as production director, what about the story still speaking to a contemporary audience today? He provided some historical context first. Lawrence lived during the First World War and wrote in the decade immediately after, which was a tumultuous time for Great Britain. There was a disillusionment of the class system at that time. Power had shifted so much back then. What’s relevant about this historical context now? Within the last twenty years, the same thing appeared today: the power holders have shifted so much from the ‘technocrats,’ technology controllers, and the multinational conglomerations of mega-corporations. Change is happening in our world with the pandemic and the incredible sense of inflation. What ties all this together is money and how that relates to power and agency. The real thing about Tapestry’s production of ‘Rocking Horse’ is someone obsessed with money and feels like she needs love; this is Ava from the opera. She is essentially a single mother raising a child with some challenges. She’s not connected to her child (Paul). She’s obsessed with money, being told what we’re meant to be, and staying in the upper class while not necessarily having the wherewithal to change her fortune or make that decision. Obsession with money is nothing new at all. ‘Rocking Horse Winner’ is a universal story about people whose parents have made so much money over the last twenty years, but they don’t have any questions about how money is made. The opera/story is dark. There might not be any lessons learned, but it’s a great reminder that any of us can change the destiny of many, many people, and many things by doing generous acts instead of selfish acts. Just by choosing selfish acts, we have no idea what we’re condemning to a great misfortune. The libretto is structured so that any of the three adults in the room could have stopped the terrible end from happening. The first time Michael directed ‘Winner’ he wasn’t a parent. Now that he is a parent, he recognizes that adults/parents have such influence over the trajectory of their children’s lives, how they think and what their value system is. I’ve already reviewed the production. Here’s the link to my review: https://www.ourtheatrevoice.com/opera/'rocking-horse-winner'-based-on-d.-h.-lawrence's-short-story. Will the production tour to other Canadian cities once it finishes its run at Crow’s? “There are people coming who would like to see what it’s all about, so it is our intention to do so, although nothing is confirmed yet. It’s in the cards, and it’s our hope that it will happen.” Within this challenging economy of performing arts companies, ‘Rocking Horse Winner’ is not a bad show for opera companies to consider. It’s very lyrical. It’s neo-classical. For people who love opera and the theatre, ‘Winner’ is in that happy middle place for Mori. The production is an hour-packed dramatic piece without the challenges one might see at other companies. The pacing of the show is what one might see in theatres. The show has a good track record in the world. What’s next for Michael once ‘Rocking Horse Winner’ has completed its run? “Well, we’re in the midst of building a new venue just north of Yonge and Bloor. We’re building a two-venue rehearsal and performance space with an office facility. There’s been a massive venue crisis within the last ten years for the arts industry. Tapestry wants to be part of the solution. It wants to provide space for independent artists to come and use the facility so that it’s affordable for people who want to create new works eventually. I’ll be fundraising.” Tapestry is also running a million-dollar fellowship for women conductors in partnership with the TSO and a partnership of about twenty-five orchestras and opera companies across Canada. Tapestry also has some fantastic shows planned for the spring. He will also direct some shows away from Tapestry down in the U.S. ‘Rocking Horse Winner’ continues at Crow’s Theatre, 345 Carlaw Avenue, Toronto, until November 12. Visit crowstheatre.com to purchase tickets. Previous Next

Now on stage at the Young Centre for the Performing Arts in Toronto's Distillery District Back Pornstar at Toronto Fringe Now on stage at the Young Centre for the Performing Arts in Toronto's Distillery District Credit: Brintha Manoharan Joe Szekeres 'Pornstar' needs another fresh look at the script. Glaring technical issues in blocking and directorial vision impede the show from attaining its full potential." I must applaud Tharshan Raj and his friend Mayurathan Thevathas. 'Pornstar' marks their debut as theatre co-writers with this 2025 Toronto Fringe show. I had to do some research about them first. From what I found, both Tharshan and Mayurathan aim to continue bringing bold stories to the stage that challenge the mainstream's narrow representation by showcasing South Asian characters in unconventional roles. This decision to confront and break boundaries in the way audiences perceive traditional narratives is an admirable one. I hope they will continue to hone their skills as theatre writers. It's 2003. Ari (Tharshan Raj) works in the adult film industry in Montreal. When his mother, Kavitha (Sumathy Balaram), sister, Abby (Sahana Srikandarajah), and Aunt Rani (Jereen Ignatious) discover what Ari does for a living, the once-familial world Ari knows back home erupts into chaos. Rani is the one who knocks at Kavitha's door early in the morning to bring the news of Ari's job in Montreal. While in the process, Abby also wakes up to see what's going on. Ari knows he must travel back home to Toronto to have some uncomfortable conversations with his family. There is an unseen father who works in Dubai who leaves some angry messages on the phone when word comes out about his son's job.' The production company Seven Studios and Events bills' Pornstar' as a bold, unflinching 'dramedy' that blends humour and heart to explore identity, acceptance, and the complexities of breaking free from societal expectations. I will admit the play's title caught my eye when I went through the Festival Book. The actors are committed to telling the story from a unique perspective. Their voices need to be heard, and that's commendable because the theatre is all about hearing as many voices as possible. While individual costume choices effectively delineate the characters, some glaring technical issues are puzzling from an audience perspective. The first is calling 'Pornstar' a 'dramedy.' It comes across more as satire, most notably in Raj's over-the-top performance as Ari and the music that plays in the background each time he enters. As co-director, Thevathas bears significant responsibility for the direction, while Raj must focus on developing Ari's character. Mayurathan's eyes must constantly move around the stage to ensure pacing is maintained. It's not happening. Several blocking issues, as well as glaring technical errors, become highly noticeable. For one, the scene changes in blackout bring the action to a complete halt. It is the audience who has to rebuild interest in the plot again, and that shouldn't be happening. It would also be a good idea to have some pre-selected music playing during the set change so there isn't an awkward silence. There are also lighting issues, where characters appear in shadow when speaking. The actors must know how to find their light whenever that occurs. The set and props appear cramped at centre-stage. Could the playing space be made a tad larger? At times, actor movements appear awkward. They get in each other's way. The actors also need some training in delivering lines. Most of the time, there appears to be a great deal of shouting, and no one seems to listen and respond to what they are hearing from each other. Final Comments: Yes, 'Pornstar' is a valiant attempt to break barriers, and I hope the co-playwrights and co-directors continue honing their skills in the theatre. A fresh look at the script again would be of tremendous benefit to begin what needs to be cut and fleshed out further. Running time: approximately 60 minutes. 'Pornstar' runs July 6, 7, 9. 10, 12 and 13 in the Young Centre for The Performing Arts in the Distillery District. For tickets: fringetoronto.com. 7 STUDIOS & EVENTS Incorporated present PORNSTAR Producer: Tharshan Raj Director: Tharshan Raj, Mayurathan Thevathas Writers: Tharshan Raj, Mayurathan Thevathas Stage Manager and Lighting Designer: Mayurathan Thevathas Set Designer: Mayurathan Thevathas Cast: Tharshan Raj, Sahana Srikandarajah, Sumathy Balaram, Jereen Ignatious Previous Next

Now on stage in the upstairs Sculthorpe Theatre at Port Hope's Capitol Theatre, 20 Queen Street Back 'The Newfoundland Songbook' presented by Shipyard Kitchen Party Now on stage in the upstairs Sculthorpe Theatre at Port Hope's Capitol Theatre, 20 Queen Street Shipyard Kitchen Party Joe Szekeres "Joyous! Rousing! If a staged kitchen party is any indication of the camaraderie and fun, I want to experience the real thing. Warm and affectionate storytelling with a spontaneous love of life." Now I wish the Newfoundland tour I was on several years ago had included an actual kitchen party. That would be a hell of a lotta fun. Port Hope's Capitol Theatre brings that fun to 20 Queen Street East with Shipyard Kitchen's Party's 'The Newfoundland Songbook'. In the Capitol's Sculthorpe kitchen, there's laughter, music, songs, and even the odd cell phone ring going off during the show, which the performers incorporated without letting it faze them at all. What a hoot this opening night was. Stepping into the Capitol's Sculthorpe Theatre upstairs, we're greeted by rousing East Coast music plus a genuine warmth and affection for everyone who's in attendance. Some terrific artists are on hand to share stories with conviction, compassion, wit, and a dash of double entendres. 'The Newfoundland Songbook' is performed and sung with a genuine heart and love for others, the spoken and sung word. There are guitars and a fiddle, and seamless transitions from one song to the next. What more can anyone ask for on this beautiful summer evening? On its website, Shipyard Kitchen Party bills itself as blending traditional instrumentation with humour, artistry and history to tell Canadian stories, our stories, and even YOUR stories in original ways. John Eaton, Sacha Law, Jason Murphy, Derek McLean, Jason Redman, and Saskia Tomkins uniquely embody that East Coast spirit of spontaneity and sass. Hearing their East Coast accents makes me want to go back again VERY SOON. I've heard that tickets are selling quickly, and some shows might already be sold out. Treat yourselves. See the show. Running time: approximately one hour and 30 minutes with one intermission. The show runs until July 13 in the upstairs Sculthorpe Theatre at Port Hope's Capitol Theatre, 20 Queen Street. For tickets: capitoltheatre.com or call (905) 885-1071. CAPITOL THEATRE presents 'The Newfoundland Songbook' by Shipyard Kitchen Party Director of Production: Katherine Smith Head LX and Sound: Christine Heriot Production Coordinator: Charlene Saroyan Performers: John Eaton, Sacha Law, Jason Murphy, Derek McLean, Jason Redman and Saskia Tomkins Previous Next

Where music, song and dance all contribute to an enjoyable plot on stage Back ALMOST EVER AFTER A New Musical TORONTO FRINGE Now on stage at 388 Carlaw Avenue, Unit 207 Credit: Andrew Seok. Pictured: The Company of ALMOST EVER AFTER Joe Szekeres "Gorgeous sounding harmonies sung by charismatic artists. This 'Almost Ever After' is almost there once the sound design becomes balanced between the singers and musicians." Gotta hand it to Writer and Director of 'Almost Ever After' Andrew Seok. This talented artist continually challenges himself and his audience in telling new stories, most often with a Canadian focus. Even though I have no background in musical training, I know a song is going to be good when I can feel my head keeping in time with the musical score. I found myself doing this many times (as did several others sitting around me) on this opening night production of 'Almost Ever After.' If you get the chance, go to the Fringe Toronto website and type 'ALMOST EVER AFTER.' When the show link comes up, click the link to the song 'What Would I Be Without You?' I dare anyone not to have a smile on their face while listening to that song. Warning: it will become an earworm. You'll want to hear it over and over. Inspired by Seok's admiration for the interconnectedness of the films 'Love Actually' and 'New York, I Love You', 'Almost Ever After' follows five stories ranging from Love at first sight to second chances and unexpected encounters, all based on one thought – is this person the one for me? Set to Seok's original score, blending rock, pop, and soul music, and inspired by artists such as The Beatles, Adele, and Bruno Mars, 'Almost Ever After' captures the highs, lows, and in-between moments of gorgeous, youthful people who sing with charisma and charm. There's a play on the meaning of 'Happily Ever After.' Will these stories conclude in this manner? That's the reason to see the show. 'Almost Ever After' is almost there… Almost. I know it's opening night. However, Josue Cadena needs to balance his sound design levels so that the terrific-sounding eight musicians do not overpower these stellar singers and performers. It became a tad frustrating when I couldn't hear the song lyrics. When there's dialogue, I was able to listen to what the characters say. It's a two-level concert staging. Imogen Wilson's lighting design succinctly sets the mood for this concert presentation. Director Andrew Seok places the musicians on stage, right of the backup singers. The backup singers position themselves behind the principal storytellers, downstage, in front of microphones. Seok directs with simplicity. That's fine because he knows he's cast strong actors who will tell these five stories with a committed focus on being genuine human beings. These performers reveal their humanness. Music Director Alex Toskov knows a thing or two about pulling at the heartstrings, as there are several moments when this occurs, one being the song featured on the Fringe Toronto show website: "What Would I Be Without You." As Matt and Avery, Nathan Bois-McDonald and Julia Pulo become stuck in two separate elevators in the same building. Somehow, Matt and Avery connect through the intercom system while they wait for help to escape the elevator. Bois-McDonald and Pulo are charmingly sweet. I was rooting for them to get together after their 'time' in the elevators. James Daly and Kelly Holiff are Jack and Olivia, a young couple who are anxiously awaiting the results of her test to see if 'Liv' is with bébé or not. Daly and Holiff caught me off guard in their on-stage work. They become believable in the moment, at least I found it that way. I wanted to go up on that stage and smack Jack and Olivia on the side of the head for their seemingly uncaring 'well, what if we are expecting or not." Jack and Olivia, you're grown adults. Take responsibility for yourselves and for the new life you may have created. Don't set the responsibility on the other person. Final Comments: In his programme note as writer, Andrew says this production is a love letter to all the romantic comedies that he loved growing up. Yes, please go and see 'Almost Ever After' for the care and commitment in telling the story through song. Running time: approximately 90 minutes with no interval/intermission. The production runs until July 13 at 388 Carlaw Avenue, Unit 207 (second floor). For tickets: www.fringetoronto.com ALMOST EVER AFTER A New Musical Written and directed by Andrew Seok Music Director: Alex Toskov Lighting Design: Imogen Wilson Sound Design: Josue Cadena Assistant Director: Kelly Seo Creative Consultants: M. Shane Aube and Mike Nadajewski Producers: Andrew Seok and M. Shane Aube Consulting Producer: Derrick Chua Musicians: James Daly, Noel Di Tosto, Brad Park, Julia Pulo, Kieran Prouty, Neil Shankman, Andrew Seok, Alex Toskov Singers/Performers: Daniela Bauer, Nathan Bois-McDonald, Rhoslynne Bugay, James Daly, Paige Foskett, Catherine Gava, Aaron Hastelow, Ronan Hayes, Kelly Holiff, Marisa McIntyre, Kate Megginson, Kevin Morris, Oliver Murphy, Davis Okey-Azunnah, Lee-Orr Orbach, Kieran Prouty, Julia Pulo, Elle Reimer, Jessica Rosalres, Alekzander Roslowski, Andre Seok, Kimberly Ann-Truong, Previous Next

Now on stage at 388 Carlaw Avenue, Unit 207 (second floor) Back ALMOST EVER AFTER A New Musical TORONTO FRINGE Now on stage at 388 Carlaw Avenue, Unit 207 (second floor) Credit: Andrew Seok Pictured: The Company of ALMOST EVER AFTER Joe Szekeres "Gorgeous sounding harmonies sung by charismatic artists. This 'Almost Ever After' is almost there once the sound design becomes balanced between the singers and musicians." Gotta hand it to Writer and Director of 'Almost Ever After' Andrew Seok. This talented artist continually challenges himself and his audience in telling new stories, most often with a Canadian focus. Even though I have no background in musical training, I know a song is going to be good when I can feel my head keeping in time with the musical score. I found myself doing this many times (as did several others sitting around me) on this opening night production of 'Almost Ever After.' If you get the chance, go to the Fringe Toronto website and type 'ALMOST EVER AFTER.' When the show link comes up, click the link to the song 'What Would I Be Without You?' I dare anyone not to have a smile on their face while listening to that song. Warning: it will become an earworm. You'll want to hear it over and over. Inspired by Seok's admiration for the interconnectedness of the films 'Love Actually' and 'New York, I Love You', 'Almost Ever After' follows five stories ranging from Love at first sight to second chances and unexpected encounters, all based on one thought – is this person the one for me? Set to Seok's original score, blending rock, pop, and soul music, and inspired by artists such as The Beatles, Adele, and Bruno Mars, 'Almost Ever After' captures the highs, lows, and in-between moments of gorgeous, youthful people who sing with charisma and charm. There's a play on the meaning of 'Happily Ever After.' Will these stories conclude in this manner? That's the reason to see the show. 'Almost Ever After' is almost there… Almost. I know it's opening night. However, Josue Cadena needs to balance his sound design levels so that the terrific-sounding eight musicians do not overpower these stellar singers and performers. It became a tad frustrating when I couldn't hear the song lyrics. When there's dialogue, I was able to listen to what the characters say. It's a two-level concert staging. Imogen Wilson's lighting design succinctly sets the mood for this concert presentation. Director Andrew Seok places the musicians on stage, right of the backup singers. The backup singers position themselves behind the principal storytellers, downstage, in front of microphones. Seok directs with simplicity. That's fine because he knows he's cast strong actors who will tell these five stories with a committed focus on being genuine human beings. These performers reveal their humanness. Music Director Alex Toskov knows a thing or two about pulling at the heartstrings, as there are several moments when this occurs, one being the song featured on the Fringe Toronto show website: "What Would I Be Without You." As Matt and Avery, Nathan Bois-McDonald and Julia Pulo become stuck in two separate elevators in the same building. Somehow, Matt and Avery connect through the intercom system while they wait for help to escape the elevator. Bois-McDonald and Pulo are charmingly sweet. I was rooting for them to get together after their 'time' in the elevators. James Daly and Kelly Holiff are Jack and Olivia, a young couple who are anxiously awaiting the results of her test to see if 'Liv' is with bébé or not. Daly and Holiff caught me off guard in their on-stage work. They become believable in the moment, at least I found it that way. I wanted to go up on that stage and smack Jack and Olivia on the side of the head for their seemingly uncaring 'well, what if we are expecting or not." Jack and Olivia, you're grown adults. Take responsibility for yourselves and for the new life you may have created. Don't set the responsibility on the other person. Final Comments: In his programme note as writer, Andrew says this production is a love letter to all the romantic comedies that he loved growing up. Yes, please go and see 'Almost Ever After' for the care and commitment in telling the story through song. Running time: approximately 90 minutes with no interval/intermission. The production runs until July 13 at 388 Carlaw Avenue, Unit 207 (second floor). For tickets: www.fringetoronto.com ALMOST EVER AFTER A New Musical Written and directed by Andrew Seok Music Director: Alex Toskov Lighting Design: Imogen Wilson Sound Design: Josue Cadena Assistant Director: Kelly Seo Creative Consultants: M. Shane Aube and Mike Nadajewski Producers: Andrew Seok and M. Shane Aube Consulting Producer: Derrick Chua Musicians: James Daly, Noel Di Tosto, Brad Park, Julia Pulo, Kieran Prouty, Neil Shankman, Andrew Seok, Alex Toskov Singers/Performers: Daniela Bauer, Nathan Bois-McDonald, Rhoslynne Bugay, James Daly, Paige Foskett, Catherine Gava, Aaron Hastelow, Ronan Hayes, Kelly Holiff, Marisa McIntyre, Kate Megginson, Kevin Morris, Oliver Murphy, Davis Okey-Azunnah, Lee-Orr Orbach, Kieran Prouty, Julia Pulo, Elle Reimer, Jessica Rosalres, Alekzander Roslowski, Andre Seok, Kimberly Ann-Truong, Previous Next

A talk with a professional artist about their career. Back Michelle Bouey (Patsy Cline) and Rob Kempson (Director) from 'A Closer Walk with Patsy Cline' at Port Hope's Capitol Theatre Moving Forward Sam Moffatt Joe Szekeres A conversation with Rob Kempson (Director) and Michelle Bouey (Patsy Cline) and ‘A Closer Walk with Patsy Cline’ If you haven’t made the trip to Port Hope’s Capitol Theatre to see ‘A Closer Walk with Patsy Cline’, I encourage you all to do so. It was a lovely evening at the theatre and a smart choice to stage this play and begin welcoming audiences back after two years. But why ‘A Closer Walk with Patsy Cline’ to re-open the Capitol summer season? Artistic Producer and Director of the show Rob Kempson was happy to explain his reason why this show was apropos to begin. He wanted to start the season with this show because he has loved Patsy Cline’s music for a long time. As the first BIPOC artist to essay the role of the country music songstress, Michelle Bouey is such a talent that Rob couldn’t even imagine doing the show without her. But in his new role at the Capitol, Rob had to also think of the larger picture – how to introduce himself artistically to the community plus how to bring people together through all ages and demographics. For Rob, very few musicals, artists and plays have that cross-generational appeal as Patsy Cline’s music does. ‘Closer Walk’ is cross-generational. There are many Patsy Cline fans in the audiences who have never seen a performance like the one Michelle Bouey delivers. That was intentional as Rob wanted to make sure that, as Artistic Producer, he was delivering the familiar alongside the unfamiliar. Yes, it’s important to ensure the Capitol’s legacy supporters are welcomed back plus it is also important to bring a whole new generation of audiences into the theatre. Kempson shared two stories as proof of this crossover. He recalled an older gentleman who has been a long-time supporter of the Capitol who said: “You make sure you go back and tell Michelle that she’s even better than Patsy Cline herself, and I saw Patsy Cline perform when she was alive.” The other? One performance had many of the workers from the local brewery attend who had a great time and were loving the show and had no idea the Capitol existed. These are signs changes have already begun as Rob continues to look for ways to invite audiences back to the theatre, but he is keenly aware they will have their own terms. As Artistic Producer, he’s looking for where he can find other crossovers in live entertainment and have people sit beside people who are totally different from each other and yet have a shared artistic experience. Thus the reason for selecting ‘Closer Walk’ and Dolly Parton’s musical ‘9 to 5’ to be staged later this summer. When rehearsals and initial preparation on her own began for ‘Closer Walk’, Michelle Bouey says she didn’t know a lot about the singer when she first began working on the show but is “so glad she was introduced to Cline’s world because her catalogue of songs and her legacy is one that is so truly incredible in that it all happened before the age of thirty.” What is it about Cline’s music that speaks to Michelle? It’s the vocals and passion that spoke first to her when she heard Cline’s music for the first time. Whether it was an up-tempo piece or a soaring ballad, Bouey felt transported and stated she felt exactly what Cline was feeling at that moment. Bouey reiterated further that if you’ve never heard of Cline before, it is her music and the stories told through songs that are touching to hear, plus the bonus of being able to hear the songs live in a theatre instead of a recording. Michelle loves singing the songs for which Cline is known like ‘Always’ and ‘Crazy’, but there are some lesser-known musical numbers that pack an even greater punch. As director of the show, did Rob wonder about the mammoth task at hand to mount the production or did everything fall into place for him? He said it fell somewhere between these two parameters. Rob has directed other historical productions and has always felt inspired by the history of real-life people rather than being bound by the history. This connection is interesting as he further reitrerated: “Patsy Cline didn’t dance around the stage. She stood at the microphone and sang because she wasn’t wirelessly microphoned.” In other words, Cline lets the song tell the story. Although we are watching this show in 2022, Kempson praises the work of the entire crew and the band in all of their fringes and tassels. He recognizes the fun in using history as the inspiration from which to jump off rather than mimic it or pretend to do something. Rob completes a lot of research even before rehearsals begin because he asks the question: “As artists, how can we interpret and imagine the world of Patsy Cline through a 2022 lens rather than impose it?” The historical research for him becomes a launching pad rather than a definitive endpoint. This historical launching pad for the production makes complete sense. For me, Bouey hit all the vocal emotional chords within me. The entire look of the production was constructed uniquely and solely for this production alone. If audiences see ‘A Closer Walk’ somewhere else, they will probably end up seeing a new vision. Both Michelle and Rob speak glowingly about the incredible joy they experienced in working with seasoned actor Tyler Murree who plays DJ Little Big Man. Bouey is in awe of Tyler. She says he was so kind and supportive to her. She was intrigued in watching him develop all of the various characters he plays and how he switches characters in performance so effortlessly. Rob has worked with Tyler before and knew he performed this role of the DJ. Kempson was not asking for a replica of Tyler’s previous performance but take on a new version of it. And he did just that. Kempson echoed what Michelle said about Murree. He is a constant professional and such a joy to have in the room because he is a beautiful collaborator, open, and risk-taker who makes people smile at every single turn. Once again, I appreciated Rob’s candour very much. When he puts together a team he has a pretty strict ‘no asshole’ rule. For Kempson, it’s more than just if an actor can do the job; instead, it becomes ‘are you the right personality for this group of people’. And how are Rob and Michelle feeling about the theatre, the trajectory of Canadian theatre going forward, and the health protocols? Both agree the Canadian theatre scene has been forever altered moving forward. Kempson recognizes there are positive and negative changes Nevertheless, what really hit home for him was the sad reality many amazing artists in the industry have chosen not to return. These artists left to find other work and are staying in that other work because it is less precarious than the theatre industry. The positive reality moving forward – Rob believes artists and arts organizations are far more attuned to taking care of people and those within the community, and this makes for a far more beautiful collaboration. Although Rob had never worked with Michelle before, he strongly felt the importance of creating a space for her during rehearsals and performances where she felt welcome, cared for and safe both at the theatre and where she is billeted. Michelle remains grateful that Rob and the entire Capitol company have continued to ensure the safety of everyone involved in all the shows remains a top priority. She considers herself lucky because she chose to go back home to Prince Edward Island in 2020 to be with her family. The east coast provinces had strict entrance and quarantine requirements. Because of these strict requirements, the east coast provinces could continue performing and putting on shows, so Michelle could continue doing what she loved. She continues to feel safe in her work at the Capitol. As our time on Zoom wound down, I know I put Rob and Michelle on the spot to ask them the following question: “If Patsy Cline were sitting in on this Zoom call with us, what would you say to her?” There were a few seconds of awkward silence. Were they panicking? uncomfortable because they might not articulate what they wanted to say. Rob was the first to break this pregnant pause. He said it might not be satisfying but: “I’d want to jam with her. Can we get off Zoom and go hang out in a room somewhere and play some music together?” Everything Rob read about Cline, he learned she was a collaborator and loved to work with people. She also had strong opinions of what she likes and doesn’t like and Kempson is fine with that in any person. And Michelle Bouey: “Wow! My first instinct because I’m an emotional, cheesy gal, I would probably cry my eyes out and she would be so weirded out. And in my emotional state and tears, I would thank her so much because she is such a gift to this world of music. Your talent touches me more than you’ll ever know. And then I’d do what Rob said. I’d want to hang out with her and get to know her. She was a trailblazer, a feminist and ‘a badass bitch’. Patsy just seemed so cool and collected but still had this fire within her. I think it’s rare to have both things.” ‘A Closer Walk with Patsy Cline’ continues to June 26 at the Capitol Theatre, Mainstage, 20 Queen Street, Port Hope. For tickets, call 905-885-1071 or visit capitoltheatre.com. Covid protocols and masks remain in effect at the theatre as of the writing and publishing of this article. One of Rob Kempson’s responsibilities is to ensure the safety of his artists, crews and audience members because as he told me in the interview: “At the end of the day, we just wanna keep doing plays.” Previous Next

A talk with a professional artist about their career. Back Allen Macinnis Toronto Profile Young People’s Theatre Facebook page. Joe Szekeres Sadly, as I write this, I never had the opportunity to meet Allen in my short time reviewing at Young People’s Theatre (YPT) for On Stage Blog. I only began reviewing for YPT in May 2019. I wished I had now. “Le sigh”, as my niece says. Why the glum sound? The company press release showcases Mr. MacInnis’ extensive forty-year theatrical career in which he has devoted nearly half of it (nineteen years, specifically) to YPT. I had no prior knowledge of the impact he has left on the face of Canadian theatre across the country most notably on the youngest audience members, including babies. However, as Executive Director Nancy Webster stated in this same release, Allen will first program YPT’s 2020-2021 season as well as direct before he steps down. It will be a “long good-bye in order to allow for a smooth transition into the company’s next chapter with a new artist at the helm.” I better get moving in YPT’s new season to track him down, to introduce myself, and to wish Allen well in the new chapter of his life. Hey, as a retired high school teacher, I will let him know that this new phase opens endless possibilities and further opportunities. But I’m certain he’s already aware of them. When I taught high school English and Dramatic Arts in the late 80s and 90s, I remember bringing my students to YPT especially if a play we were studying was to be performed live. I always believed it was important for students and young people to see the world of literature come alive dramatically. That was then. Today, Ontario schools have shifted tremendously in their development of meeting overall and specific curricula expectations. This year, in consideration of reconciliation to our Indigenous people, the YPT slate of productions was to have focused on the Seven Ancestral Teachings of the Anishinaabe. No one could have ever predicted how two major events this season – unrest in the provincially funded education system and the pandemic of COVID – 19 – would turn all live theatre seasons upside down. Despite these tumultuous months provincially, MacInnis’ artistic vision in joining YPT in 2002 has remained steady. YPT took these Ontario Ministry of Education expectations and fully brought them to fruition and focused on the emotional, social and intellectual development of young people which influenced all artistic choices as well as the company’s core values of purpose and audience. Additionally Mr. MacInnis, together with Executive Director Nancy Webster, established the company’s ‘Innovative Education & Participation Department, connecting every element of YPT’s educational work with the company’s professional productions. This job and calling taught Allen it’s “all about maintaining an authentic relationship with young people and the people who care about them.” Ah, there’s the key word right there – authenticity. As a retired schoolteacher, I also saw firsthand that young people truly do know when something or someone is authentic and genuine and when they’re not. You can’t pull a fast one on youth because they will automatically sense and know if it’s done. They just somehow do. I reviewed five YPT productions this year, four of them during the current upheaval of teacher unrest and threat of COVID-19: ‘Antigone’ (from the 2018-2019 season), ‘The Mush Hole’, ‘A Million Billion Pieces’, ‘The Adventures of Pinocchio’ and ‘The Jungle Book’. The last four believably, genuinely, authentically and realistically appealed to the diverse audiences of children and adults specifically in the following four out of seven teachings of the Anishinaabe – Love, Honesty, Truth and Respect. If anything, on a personal note of reflection, these four teachings became ironic reminders of how important it is to maintain them especially in this time of the COVID-19 pandemic in which we now find ourselves worldwide. I will most definitely track down Allen MacInnis to speak to him more about where he believes our Canadian theatre industry is headed. He is quoted as saying in the company press release that “it’s time for someone like me to get out of the way for a new generation, especially those who face barriers to accessing leadership roles.” You have me intrigued, Allen, about this statement. I can’t wait to pick your brain and to talk theatre with you. Young People’s Theatre can be found at 165 Front Street East, Toronto. Visit www.youngpeoplestheatre.org for further information or their Facebook page: Young People’s Theatre Previous Next

A talk with a professional artist about their career. Back Anne Plamondon Looking Ahead Michael Slobodian Joe Szekeres What a delightful time I had chatting with Anne Plamondon via Zoom. When I mentioned during our conversation that I had received a press release which describes her as a ‘radiant choreographer and performer of dance’, she was extremely flattered that she is regarded in this manner because she considers radiance a beautiful quality of light, hope, well being, luminous and glowing. Anne hopes that her work can make an audience feel elevated especially now in our world. Art can be possible in any subject addressed; however, Anne also spoke of the fact that our present world can not always be considered a happy place as our world can be both beautiful and ugly at the same time, and audiences will see a profound depth in ‘Only You’, her upcoming dance presentation this week at Toronto’s Harbourfront Centre. We both agreed that we are not out of the pandemic and its dire effects yet; however, Anne recognizes these last two years have changed the world of dance for her. She isn’t sure that she has fully noticed everything that the pandemic did change and that it will take awhile before any of us really see what has been changed. Anne’s first thought on the dance milieu when the world changed two years ago was on the emerging next generation of artists and their preparation within schools in what she calls that big black hole in teaching. Her concern was how these artists were going to learn and to be prepared moving forward into the industry. Yes, schools and students had to continue via Zoom. If students and schools must do this, they can. It’s not impossible to maintain and keep the inspiration alive but learning via Zoom is not enough in dance because the art speaks so much when people move together. For Plamondon, dance is “a language of the body, of touching, reunion and communicating through the body from one person to the other”. The art of dance is not conducive to distancing six feet from each other. The whole point of dance is a gathering of the audience and the performers, and the curiosity of meeting the other person. The process of dance is about sharing the body language in the studio during the rehearsal. If dancers can’t be in the same room together or can’t enter each other’s bubble, then a huge part of dance has been cut and that’s troublesome. As a dancer and choreographer, Anne cares a great deal about what she calls partnering work. She enjoys the narrative in her dance in seeing how it starts, where does it go and what is left. It is something she has loved doing. She was lucky enough to have amazing partners in her dance career. For Anne, if the partnering work cannot happen then there is what she calls a great deal of ‘missing out’. For someone like myself who holds no background or education in dance, Plamondon wants audiences to realize that not every dance piece has to have a narrative running through it. For her, dance sometimes goes mysteriously ‘beyond the words’ and audience members may not have to understand everything. There could be images, movement, or combination of movement with music in the language of the body that might just create an interesting picture on the stage for audiences to follow and to feel something emotionally. That on its own can be poetic and touching. Today, she feels a sense of urgency to speak about her work candidly and honestly and to do it well since this great two year pause of nothing. Everything has to matter and to mean something. Anne considers herself ambitiously curious now more than ever. She was to have brought her show ‘Seulement Toi/Only You’ to Toronto’s Harbourfront Centre March 17, 2020, as part of an important step for her company. She wanted to bring a partner into the process after completing two solo shows. Thankfully, ‘Seulement Toi/Only You’ returns and runs April 8 and 9 at the Fleck Dance Theatre at Harbourfront. Anne says she is super excited to return to Toronto as she feels she has developed a strong relationship with the city since she has danced her many times. She considers ‘Only You’ a stepping stone to make and provide group work for her company since she has only completed solo works and solo evenings before. Making duet work seems to be a natural evolution for her to start bringing other people into the process of dance for her company. When she choreographs for herself, Anne relies on personal life connections for inspiration. She performs and creates for herself so there is no distance between the two. Choosing a partner for ‘Only You’ was extremely important. After she selects the partner, Anne then decides what both must do to keep the integrity of the two persons. Every step of the process is extremely important in the conversation of the relationship between the two dancers in trying to figure out who they are as individuals together. Before the pandemic, Anne was interested in a need for connection and a need for understanding the other in synchronicity. But the title of the piece made Anne realize that after all this stuff of the last two years, it’s just her. She has to find her road for life and walk that road. This is the personal part of ‘Only You’ and also a self quest. ‘Only You’ is also personal in that she went from only dancing for other people and a moving on to choreographic development. There was a transition for her. Anne is still a performer, but she only performs her work. She considers herself fortunate in her career that she has worked with phenomenal creators such as Crystal Pite and James Kudelka in that she was a muse for someone else’s vision. But she has moved forward. What’s next for Anne Plamondon after April 9 after Harbourfront? After Toronto, she and the company travel to Ottawa and the National Arts Centre and perform ‘Only You’ there. In June, she starts a new creation with eight Canadian dancers including herself. It’s the St Sauveur Festival in Montreal directed by Guillaume Côté. Anne was commissioned a thirty-minute piece this August to create a work. She has selected dancers from across the country. She points out that during this time everyone is talking about thinking locally. Anne makes a good point when she says that local is Canada for her, so she has dancers from Toronto, Vancouver, and Montréal. Although some of the dancers have worked with each other in the past while others haven’t, Anne confidently states she is taking a leap of faith that she has selected the perfect group for this piece at the Festival which premieres August 3. As we began to wind down the conversation, I asked Anne a question what I’ve asked other artists in some profiles. What would she like future audiences to remember about her and her work ten years from now? I think I caught her off guard because she paused and said that it was a monumental task to think about this right now. Then she confided that she felt humbled in being asked this question. For Anne, she loves the art of dance and its discipline. Sometimes, dance might or could be misunderstood by audiences who may connect to music or theatre more. She feels she has a responsibility as a dance artist to bring the standards and the quality, the craft and the integrity of the work in that direction of excellence, otherwise the discipline can suffer tremendously if dancers don’t aim for excellence in the industry. ‘Seulement Toi/Only You’ performs April 8 and 9 at 7:30 pm at the Fleck Dance Theatre in Harbourfront Centre, Queen’s Quay Terminal, 3rd Floor, 207 Queen’s Quay West. The performance is 60 minutes in length with a short question and answer following the show April 9. For tickets, visit harbourfrontcentre.com. Previous Next

A talk with a professional artist about their career. Back Paul Bates Copy Canadian Chat Megan Vincent Joe Szekeres From the Sonar Network website: A veteran of Toronto comedy stages, Paul got his start at The Second City, where he wrote and performed in six revues. Other stage credits include SlapShot Live, It’s A Wonderful Toronto, The Soaps: The Live Improvised Soap Opera! An Inconvenient Musical; and SARSical, for which he received a Dora Award nomination. On television Paul played Jeff on Dan For Mayor (CTV), and has also appeared in The Stanley Dynamic, The Ron James Show, Odd Squad, Against The Wall, and Puppets Who Kill. Film credits include The Tuxedo, Welcome to Mooseport, and Camille. He’s won numerous Canadian Comedy Awards and received NOW Magazine’s 2013 Reader’s Choice Award for Best Male Improvisor. Paul and I conducted our interview via email. His credits listed here make me want to see his work live sometime soon. I’ve included his most recent promotion at the conclusion of his profile. Thank you for your time, Paul: Since we’ve just celebrated Thanksgiving, tell me about some of the teachers and mentors in your life for whom you are thankful and who brought you to this point in your life as a performing artist. I had some very good early teachers who introduced me to acting and who supported my enthusiasm for the performing arts: Greg Hertel and Chris Brower. I also tend to think of my directors at Second City as mentors who taught me a lot about acting, improv, writing and directing: Paul O’Sullivan, Bob Martin, Chris Earle, Mick Napier, and Sandra Balcovske. I’m grateful to them all. 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 18 eighteen months on a personal level? How have you been changed or transformed on a personal level? Like so many of us I spent a lot of the last 18 months at home and saw a lot fewer people. So personally, my growth came in the form of strengthening bonds with a very small handful of friends. I’ve come through the pandemic with the strongest friendships I’ve ever had, and with a much stronger family life too. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? These months in lockdown - especially when nothing was going on professionally - were a great opportunity to ask myself what I wanted from my career, what I expected of the industry, and what I love about performing. I feel much more focussed now in terms of artistic and career goals. In your opinion, do you see the global landscape of the professional Canadian live theatre scene changing at all as a result of these last 18 months? I think initially there will be a struggle to bring audiences back safely. But once they feel safe and ready to return, they’ll be so hungry for a live experience. I’m hopeful that theatres will be able to capitalize on that energy. What excites/intrigues/fascinates/interests Paul Bates post Covid? Honestly? The possibility of auditioning for something in person again. What disappoints/unnerves/upsets Paul Bates post Covid? Any premature lifting of safety restrictions that ends up dragging out this nightmare in the long run. Where does Paul Bates, the artist, see himself going next? A return to collaboration both for the stage and in digital media, particularly podcasts, which I enjoy more than I thought I would. Where does Paul Bates, the person, see himself going next? A secluded cabin to play board games with my friends. 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 format. If you could say one thing to one of your mentors or favourite teachers who encouraged you to get to this point as an artist, what would it be? Thanks for the encouragement! 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? I’m sorry, I can’t get you comps! What’s your favourite swear word? Horsedicks. What is a word you love to hear yourself say? Laborious. What is a word you don’t like to hear yourself say? No. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? Don’t waste a single second worrying if you’re good enough. With the professional life experience you’ve gained over the years, what would you now tell the upcoming you from years ago who was just in the throes of beginning a career as a performing artist? Try new things. Get a weird, bad job - just for the experience. What is one thing you still wish to accomplish both personally and professionally? Oh, just to silence the internal critic once and for all, you know the one. Name one moment in your professional career as an artist that you wish you could re-visit again for a short while. I’d go back and do live sketch comedy 6-nights a week. Maybe for 2 weeks. Would you do it all again if given the same opportunities? Of course. Any other answer will keep me up at night. To connect with Paul on his social media Twitter and Instagram: @batesbot9000. Previous Next

A talk with a professional artist about their career. Back Jewelle Blackman Moving Forward Zak Kearns Joe Szekeres It was Carey Nicholson, Artistic Director of Port Perry’s Theatre on the Ridge, who encouraged me to reach out to Jewelle Blackman for a conversation. As soon as Carey mentioned Jewelle’s name, I remembered this lady who was the Assistant Director for ‘Jesus Christ Superstar’ in Oshawa, Ontario, Canada several years ago. In an email Jewelle sent to me, she told me she was considering looking into directing at that time and found the experience of working on ‘Superstar’ at the Oshawa Little Theatre a ‘great experience’. Jewelle appeared in the Tony/Grammy winning original Broadway company of Hadestown playing the role of “Fate”. She is now playing the role of Persephone in the Broadway company. I won’t spoil her answer here in what was happening when the Broadway theatres were closed. She is a multi-talented artist from Toronto who has played the violin for more than 30 years and graduated from Queen’s University with a Double Major in Music & Film. She also completed a Summer Performance Certificate Program at Berklee College of Music. Other favourite credits include The Who’s Tommy (Acid Queen); Jacques Brel is Alive and Well and Living in Paris (Jewelle) both at the Stratford Shakespeare Festival; We Will Rock You (Teacher); The Lion KIng (Nala/Shenzi) Mirvish; The Wizard of Oz (Mrs. Banks) Young Peoples Theatre; Dreamgirls (Deena Jones) The Grand Theatre/Stage West. Film/TV: Nine Lives; The Coroner; Kim’s Convenience; Shadowhunters. We conducted our interview via email: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m trying to take it day by day. If I try to plan too far ahead it becomes somewhat overwhelming because how can I plan for the future when the present is so uncertain and unpredictable? Covid has been around a lot longer than I think any of us truly expected and there is no definite end in sight at this point in time. That’s a lot to swallow. Will we emerge to a new way of living? We already are, aren’t we? We’re all adapting as best we can and navigating the unknown some days with more hope than despair. The situation is fluid. As I always say the only thing constant is change. How have you been faring? How has your immediate family been doing during these last six months? Some days good, some days not so good. March and April were particularly difficult. But early on I participated in a virtual group mediation group which I think really helped to calm me and force me to look at and approach life with a new eyes. My immediate family have already remained healthy which I am very grateful for. I have also been navigating a lot of personal changes which greatly affect my son and myself. But we are all here still thriving. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I would say being seen, recognized and appreciated as an artist. People have their opinions of you and what your limits are based on your sex or for me, specifically my race. It feels like a constant battle at times. Personally, this affects how I view myself and my worth. I'm working on this because regardless I should feel strong and confident in my value regardless of what others think or believe. 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? Well as I was on Broadway in Hadestown’, I will never forget March 12. I was in the middle of my last understudy rehearsal for the role of “Persephone”. My put-in was the following day along with another understudy and the producers literally walked in on us and announced the news. We were all shocked...I think we all knew and felt that something was going to happen, but the reality of it all struck really hard. I believe that Broadway will re-open again and Hadestown will be there in full force, and I will get to bring my “Persephone” to life….I just don't know when. What have you been doing to keep yourself busy during this time? Hanging out with my 9-year-old son Zion. Working on my own passion projects. Hanging with my family. Supporting the “Black Lives Matter” movement…. And walks...I take lots of walks to clear my head when it begins to feel like too much. I've also done quite a few online performances. Oh, and auditioning for film/tv quite a bit. 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? Spring will come again….this pause is an opportunity to really focus on what about this business really fuels you. What can you do to change it and make it a more just and equitable and comfortable space for all performers. Especially your colleagues and friends of colour. Theatre will re-emerge and thrive...but the goal should not be to go back to before but to go forward with the intention of change. Do you see anything positive stemming from Covid 19? Personally, this has given me so much more time with my son which is so valuable and that I am entirely grateful for. On a global level it has definitely seen the rise of voices that have been silenced for so long the opportunity to be heard, and also the chance for people to reflect on how their own actions in the past may have been hurtful or detrimental to others. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I think more care and concern will be given to what stories are shared on stages and that it is not white male-dominated any longer on stage, behind the scenes and in boardrooms….that is my hope. 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? If it works for you definitely do it. If it feeds your soul do it. Just remember to get compensated. This is your gift and your craft and your career. It has value and it has worth and should not be consumed for free. Donating your art is one thing but being paid for a service that is provided should also not be ignored. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? The ability to create. The ability to share. No matter the size of the audience...there is a feeling that nothing, not even Covid can dampen. You can follow Jewelle on social media :@elleshelley on Instagram AND @jewelleblackman on Twitter. Previous Next

A talk with a professional artist about their career. Back Vikram Dasgupta Canadian Chat Sandro Miller Joe Szekeres Normally I like to send interview questions to a guest a few days before, so the artist has a few days to think about how to formulate an answer. Independent film maker and Indo-Canadian Vikram Dasgupta told me he prefers an ‘off the cuff’ conversation because he said he is “all about documenting and documentary with genuine interaction” so he felt it was good he wasn’t prepared for the questions. Born in New Delhi, India, Vikram was born into a family of artists, musicians, dancers, and scientists. A gold medalist in Fine Arts from Kolkata University, Vikram came to Canada to pursue cinema. Some of the titles of his short films and documentaries sound interesting. For example, his short film, the multi award winning ‘Calcutta Taxi’ funded by Bravofact! and NFB Canada, was in the races for the Academy Awards in 2014 after winning the Oscar Qualifier at the Aspen ShortFest 2013 and was screened at over 50+ festivals worldwide. Vikram’s commercial on Paralympanians for the PanAm TO2015 entitled ‘Are you ready’ was nominated for the Cannes Lions in the Film Category. His debut feature documentary ‘Beyond Moving’ premiered at the HotDocs theatre in February 2020 with theatrical and VOD distribution through Blue Ice Docs. His upcoming feature documentary ‘Dog-Ma’ – a deeply personal journey about his mother feeding 500+ stray dogs on the streets of Delhi was set to release in summer 2021. We conducted our conversation via Zoom. Thank you so much for the conversation, Vikram: I see from your bio that was sent to me states that you come from a family of artists of all kinds and scientists, and yet the biggest influence on you as an artist was your grandmother’s storytelling. Tell me a little about your grandmother and the art of her storytelling. In my family we have such a beautiful, weird mix of people. My immediate family is 75 people. I’m raised from a really big village. My grandmother was the storyteller of that village, and she would just make even the most little of things seem spectacular. I remember when she first came to visit my uncle in the US, they visited Niagara Falls. When she returned, she told me about that story when she exited the car in the parking lot and she could hear this roaring sound of a monster. The more she was wondering what the sound was, the more my eyes widened as I was a kid hearing this story for the first time. She revealed how the monster was this healing body of water. I was blown away by it. When I finally visited Niagara Falls, my visit fell short of what her story was to me when I was a kid. For me, that is the power of storytelling, and that’s what I was raised on. I wanted to get into a profession and do for a living what my grandmother did. I wanted to tell stories as well. In my immediate family of 75 people, I grew up hearing stories and discussions for example about God versus the atom. I’m very lucky that way in that I grew up in that cross section of society, that I had access to all these stories and conversations. I had to be a filmmaker. I had to find the medium ground to tell without any kind of prejudices stories on either side. I feel it is all just one story and we have dissected them, kept them, and made boxes, but it is all just one story. Every story is a human story. That’s why my field of work is from Paralympians to dancers to musicians to orchestra. It doesn’t have that boundary. We don’t have that boundary, we created them. Stories see past these boundaries and unite us all. Stories make us feel that way. Your biography states that you are a gold medalist in Fine Arts from Kolkata University, and then you came to Canada to pursue cinema. Did you continue some of your studies in cinema when you came to Canada, or did you move right into cinematic work immediately? I actually studied Fine Arts because I wanted to be a storyteller. I had this conversation with my late father who passed away a few months ago. I told him I wanted to study film making and he said perhaps I should focus on one frame at a time instead of 24 frames per second, and perhaps to study fine arts and painting and understand the content of telling stories through one frame before you go and take cinema. That’s why I studied fine arts on the advice from my late father. I like water colours, drawing and painting to eventually be a filmmaker. It’s funny that this makes me connected to the artists with whom I work in all different fields. After my father’s passing, I returned to doing some painting. But I’ve not had the chance to do it for a long time as being a filmmaker is time consuming. When I came to Canada, I was here to study film. My post graduate work is here. I see that premiering on October 13 is the three-part performance film directed by you for Fall for Dance North. What specifically is it that film can capture regarding choreography, dance, and movement? This is a very loaded and yet a very good question. I will tell you what I try to hopefully bring. So, what is it that cinema can bring to dance that there is something for us to strive for? Personally, I feel that when I film dance I actually like to be in the dance and not from the way the audience watches it from the stage. When we watch a dance on a stage, we watch it in a perfectly set theatre and framed the way it is projected. I actually am with a camera and running around with the dancers and trying to give the audience and myself how does the dancer feel. For me, it’s always about that connection be it with someone feeding dogs in India, be it a Paralympian trying to strive for a gold medal, or be it with a dancer, I want to try and connect in the closest, subliminal way possible from an angle that the stage might not be able to give a vantage point to the audience and what they can see. And that’s what film making is all about as it offers the audience another vantage point to see, and what is normally portrayed to the audience. If I’m filming dance, then I’m going to film it from a vantage point that the audience cannot see. It’s a challenge because if the camera is going to be with the dancer, then we have to choreograph ourselves on the choreography of the dancers, and we have to make sure that at the end of it, the filmmaker has to ensure there is not any visible footprint from him/her/them. Eventually, you cannot see the hand of the director and nobody should know that it is filmed. The second we are too self aware of the presence of the filmmaker we take away from the actual creation of the dance and the dancer. So it’s a very thin line for the filmmaker in deciding how to be there and not be there. I never want to see myself in it. Every documentary I film, I don’t want to see myself in it. I hate it when I can see myself because it looks crafted, it looks like a reality show and I don’t want to see myself in anything. If I do it right, then I disappear and that’s my goal. The goal is to allow the art to be in its truest form. If I can do that right, then I’m on the right path. When I was filming Siphe for my documentary ‘Beyond Moving’, he was developing the choreography and we were filming as he was developing it. We developed our movements in the way Siphe was developing the choreography. We grew with Siphe as he developed the choreography. We were discovering our movements with the camera as Siphe was discovering his movements, and that is the synergy that helps us to disappear. On a side note, my aunt is an extremely celebrated Indian classical dancer. She won the President’s award; she’s a big deal, but I’ve never filmed Indian dance before. It’s been interesting for me coming back home to film classical Indian dance form. My aunt has always me to be a dancer as a kid, and I told her I don’t want to be a dancer. She would make fun of me now because I am filming dance. What drew you to want to film this kind of material? People. I fall in love with people, and I just want to understand and learn about them. I work with people that I love and, for me, that love really shines on the screen in whatever the field whether it be dance, athletics. I’m doing a film about widows as there are about 30,000 widows who live in India. Tell me about your connections with Fall for Dance North in Toronto and how you came about to relate and connected to them. I fell into filming dance for about 7-8 years. I never used to film it, but I fell into it during the Pan Am Games. I filmed Peggy Baker and then at Canada’s National Ballet School I ended up filming Siphe November for 7 years which made the documentary. Ilter Ibraimhoff, Artistic Director for Fall for Dance North, saw the documentary from the National Ballet School of Canada and asked if I wanted to do a piece with Siphe and his brother because the documentary ends with Siphe’s desire to work with his brother on the world stage. So, I said to Ilter I would love to do it, but I couldn’t do it in the months he wanted as I was in India. Ilter then said that since I was in India if I was going to be near Bangalore. I said yes that’s where my late father was going to pick me up from. There’s a dance village in Bangalore called Nrityagram, and maybe I could film there. So that’s how the second project came about. The third one was with Aszure Barton in Cuba. That’s how I got into Fall for Dance North. While I was doing a promotional piece for the National Ballet School one day with Siphe, I fell in love with this kid. The way he looked at the camera, he looks through the lens and it looked like Siphe was seeing our soul. Both my cinematographer and I thought, “Wow, this kid, Siphe, is so profound to be able to do that.” We went to South Africa as well to film Siphe. We stayed with his mother, met his brother who’s amazing and another brilliant dancer (and whom you will see in the program). Their story became a part of my story and I started recording the journey. This is how I made ‘Beyond Moving’. Ilter saw the film and ‘Beyond Moving’ concludes with a quote from Siphe saying that he looks forward to that day he can share the stage with his brother and Fall for Dance North wanted to provide that for the first time. This process has been organic and unplanned and that’s how I like to work. I’m intrigued by the title +(DIX) – how is it pronounced and the exploration of the Odysseus myth about journeying far but always desiring to return home. Tell me about the rehearsal process so far into the performance on September 23. I’ve been involved in the rehearsal process for the last few weeks. We’ve been working with the dancers and trying to understand the best way because it also comes philosophically from a point of Guillaume Côté watching the piece emerge. There are instances in the filming that I would like to show Guillaume when he has left the stage and gone off, and I would like to show from his perspective watching the dancers from afar. Because I’m filming the whole theatre, I want the theatre to also be a character in the piece. Let’s see how far we can achieve it. I haven’t had a great deal of training in the art of dance and movement. I’ve noticed many of the professional dance companies want to encourage people like myself and others who haven’t had any experience at all in the art of dance and movement to come watch and to experience a production. What would you say to individuals like me, others who have very little background who have little understanding of movement and dance, why is it important for us to watch, through cinema, the art of dance. Do you think that will allow us to accomplish something? This is a lifetime of a question. I think it boils down to not just the immediate question of how people can appreciate dance through cinema. It’s a much deeper and philosophical question regarding what exactly is the purpose of art. I think that is the bigger question. Why art and why is it important? I think I was very lucky that way being raised in art. I didn’t realize that art is a thing because that’s what happens when you’re raised in art. I never realized that dance is for dancers; painting is for painters; singing is for singers; science is for scientists. I never knew that. And I think we lack that because we in society put things in certain boxes and that you have to be a certain kind of person to appreciate art. I don’t think so. I think understanding and appreciating art is comparable to understanding and appreciating life. Everyone needs to do that, and everyone should be born in it. That should be a part of our inherent diet of ideas. If we are to think of it that way, then that makes sense why no matter where you are or who you are, where you’re from, what race, what religion, what part of hierarchy or class, we all need to understand about life. We all need to figure out why we’re here. It’s not an immediate or direct question. It’s such a bigger universal question. I’ve been dealing with a lot of existential questions and things about my late father’s passing away, and there are times when everything seems absolutely pointless and immediate. And there are other times when things have a purpose and things go far beyond my existence. Art kind of rounds off the edges. It’s that nice, warm embrace that we all need and want after a hard day of life’s reality check. It makes you feel at home in whatever you are and wherever you need to be. That’s why art, dance, cinema or poetry is important as it allows us to be honest as to who we are. Previous Next

A talk with a professional artist about their career. Back Tom McCamus Moving Forward David Leyes Joe Szekeres A graduate from the University of Windsor with a BFA training in the early 1970s, Tom McCamus’s career has taken him to working with some of the greats in theatre and television. I was pleased to have seen his work at The Stratford Festival where he played Edmund Tyrone in ‘Long Day’s Journey into Night’. Others in this cast were Martha Henry, Peter Donaldson, William Hutt and Martha Burns. I had taken my mother to see this production and I’ll always remember we both told each other that nearly three-hour performance flew by because we were highly engrossed in what we saw on stage. Tom has also appeared at the Shaw Festival and a number of Toronto theatres. From his answers below, you’ll see Tom and his wife, Chick Reid, are using this ‘solitude’ and ‘escape’ to complete a great deal of work on their farm in Northumberland County. Tom and I conversed by email. Thanks for the conversation and for sharing your thoughts about theatre in a post Covid world, Tom: 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? We will eventually emerge from this – and probably when we do we will strive to make things ‘normal’, the way we things used to be. Our short-term memory will let us forget the crisis we lived through. I would hope that the powers that be don’t ‘forget’ so that when it happens again we will all be more prepared for it. How have you been faring? How has your immediate family been doing during these last eight months? We have been lucky – we live in the country on a 50-acre farm, so isolation is not that much different from our normal life out here. It’s also a small rural community here and there have been very few cases of the virus. But we have made every effort we can to support our local shops and restaurants that still have to abide by the lockdown rules. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I think what has been most difficult for me during this is being cut off from the daily interactions with other actors and theatre workers. Apart from the pandemic it has been a time of questioning as to what our theatre needs to do to make sure we include all who are a part of it. And to rely only on social media and zoom calls instead of one on one real people interactions to have these discussions - I find that quite difficult. 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? We arrived for the first day of rehearsal at the Shaw Festival the day that the lockdowns started and then we were sent home. We continued to rehearse online for a couple of months until it was obvious that the season as we knew it would not be possible. The Festival continued online for most of the summer keeping its company somewhat employed and allowing for some new creative outlets. At the moment the Shaw is planning a truncated season based on last year’s playbill …… but that depends on what happens over the winter. What have you been doing to keep yourself busy during this time? We have lived on a farm for the past 20 years – however, whenever we work, we have to leave it and come back only on days off. We have been fortunate to have found a fair amount of work in those 20 years but unfortunately the property and its various buildings have been neglected due to our absence during the summer months. So, I have been repairing rotting roofs, cleaning barns, cutting and stacking wood, clearing brush and anything else that I keep saying I should get around to. 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 remember returning for a second season at the Shaw when I was a young actor and Christopher Newton asked me, “How do you feed yourself in the off season?” meaning artistically. How do you give yourself artistic fuel to continue doing whatever it is you choose to do? From then on, I’ve always tried to use anytime away from work to soak up whatever the world around me has to offer – so that I have raw material to use when I come back to work. I would think this is the perfect time for that – it’s an extraordinary time … and the theatre and work will come back Do you see anything positive stemming from Covid 19? I guess time to stop and reconsider. It forces us to be in the moment….something actors are always striving to achieve. Although I say that as someone who is in the latter part of his career and can afford to take that time. There are many others who don’t have that luxury. They are simply out of work and have families to feed and mortgages or rent to pay. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I’m hoping the impact Covid has is that things won’t return to normal when the theatres come back – that we can strip away the stuff that has been holding us back and come up with some new ways of doing things. 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 performances I’ve watched on YouTube, Zoom and other streaming platforms have been great and needed, helping to stay in touch with the theatre - but it can never replace live performance. However, with all the very exciting, multi disciplinary theatre around now the tools, skills and creativity that are developed in these experiments can’t help but be useful when we get to integrate them with live theater in the future Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? When you are denied something you realize how much you miss it – live reaction from an audience whether its one person laughing at a joke or an entire audience gasping at an entrance - is what I miss. And as much as I’ve enjoyed this solitude and escape from the stresses of our work it will not destroy my love for that reaction from real live present audience. Previous Next

A talk with a professional artist about their career. Back Kim Blackwell Self Isolated Artist --- Joe Szekeres What’s the old saying for ‘The Hyde House’? It’s worth the drive to Acton. Well, I’ll tell you, for the last two summers, it has been well worth the drive to 4th Line Theatre in Millbrook, Ontario to see some phenomenal surprises at this gem of an outdoor summer theatre. There’s good stuff going on here. I remember writing the first review for 4th Line the first summer I attended and figuratively kicked myself in the behind why I hadn’t made it out there before. I’m saddened at the fact audiences might not have the opportunity to be there this summer. Sigh. Managing Artistic Director, Kim Blackwell, is still hopeful there will be a change as the first show is only postponed. I am truly praying the theatre gods will change things for the better. I know it sounds corny, but 4th Line has been one of the highlights of my summer for the last two years, and I’ve always looked forward to it. And the fact that next summer will be the 30th anniversary makes this company’s work even that more special to attend. Thank you so much, Kim, for having this interview with me via email: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? Thanks for asking. I have been ok - no one in our family is sick so that is of course the best possible news. My daughter is doing school remotely and she like waking up at 8:55 am and going downstairs to the den to do school in her PJs. She loves that. My husband is working at home as well, as he works in IT. We miss seeing my parents and my husband’s mom but obviously everyone is being careful about staying at home as much as possible. As an interesting side note - I had a stress related heart issue in January of this year and now I laugh and say, “I thought my heart attack was going to be the biggest thing to happen in 2020.” :) We went to Mexico on March 10th and then the entire world went crazy and we had to fly back a week early. The stress of that was quite something. My husband, daughter and I spend days and days just seeing each other. That has been quite a time of getting to know each other all over again. We have all been so busy for several years and running around almost non-stop. This sudden stop has forced us to slow down and cook together, eat together and talk to each other more. 2. Tell me briefly about the shows that were to have been presented this summer at 4th Line. Were any of them in rehearsal or pre-production before the pandemic was declared and everything had to be shut down. Will these shows be a part of the 2021 summer slate? We have only postponed the first show so far. That show was Alex Poch-Goldin’s ‘The Great Shadow’ which was to be directed by Deb Williams. We have moved this world premiere play into the opening slot for the 2021 summer season - which will be our 30th anniversary season. The Board of Directors will make a decision about the fate of the 2nd show on May 22nd. That is Maja Ardal’s ‘Wishful Seeing’ based on the book of the same title by Janet Kellough. When the pandemic started to hit in February, we slowed all pre-production work right down to see how things would develop. As such, very little planning had started in terms of designers, etc. We had not gone into rehearsals. For either production In ‘The Great Shadow’, set in the roaring '20s, the stars of the silver screen are heading to Canada as Trenton, Ont. embarks on a quest to become Hollywood North. Sparks fly in this world première when small-town Ontario residents collide with the Hollywood elites. From Alex Poch-Goldin, the playwright who brought you ‘The Right Road to Pontypool’ and ‘The Bad Luck Bank Robbers’, ‘The Great Shadow’ is a raucous comedy, packed with romance and intrigue in the golden age of film. ‘Wishful Seeing’ tells the story of saddlebag preacher Thaddeus Lewis played by 4th Line founder and creative director Robert Winslow, who stumbles upon a murder mystery on the shores of Rice Lake. It's a historical thriller set in 1853, with a colourful cast of characters set against the backdrop of a rapidly growing pre-Confederation Canada, and reminiscent of the popular television series "Murdoch Mysteries." 3. What has been the most challenging part of the isolation and quarantine for you personally and professionally? Well, personally, it has been that we bought a house right before the lockdown and are moving to Peterborough in June of this year. And we are preparing to rent out our house in Toronto. This move, after living in Toronto for 20 years, would have been a wild ride in normal situation, now it is so crazy. And my daughter is missing the last 40% of grade eight, she’s been at the same small school for 10 years. She is missing the typical grade eight celebrations. My heart hurts for her. We miss hugging our parents - my husband and I - I worry about them being so isolated. My mom has Lewy Body dementia and the isolation and lack of mental stimulation is not good for her, especially. My parents are in a retirement residence in Peterborough and the staff are so vigilant about keeping COVID out of their home. So I am deeply grateful for all that they are doing but we really miss seeing them. And with my husband’s mom - she is alone in her home with our dog. Thankfully she has the company, but we miss her and we miss having our dog with us. Professionally, I am gutted by the loss of the first show of the season and the possibility of losing the entire season. I am sick for all the artists who have lost work. I worry about future of our theatre and theatre in general. 4. What have you been doing to keep yourself busy during this time of lockdown? There are lots of meetings around creating multiple different plans and budgets, meetings with staff, board, stakeholders. There is planning and programming decisions to make. We have created some initial online programming including Artist Talks and a reading. We will be developing more online work to keep engaged with audiences. I workout as much as I can. I am binging shows on Netflix, Prime and Crave. The best so far have been ‘Chernobyl’, ‘Once Were Brothers’ and revisiting ‘The Wire’. I am cooking and baking like crazy. I baked bread for the first time in about 20 years. I am trying to meditate and read. And some days I lay on the couch and am terribly sad about it all. I am mourning the many losses… 5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? What words of advice would you give to the new graduates emerging from the theatre schools? Oh gosh - I am not sure I’m a good person to give anyone advice. I think we are going to be in this for the long haul. Theatre will be one of the last sectors to come back online during this pandemic. I think patience will be needed. I do think people will come back to the theatre eventually, because we all have an innate need to gather together and share stories and communal experiences. 6. Do you see anything positive coming out of this pandemic? I think people were in a severe state of burn-out going into the pandemic. I saw people being terribly frazzled and run off their feet. I think the pandemic has allowed people to stop and breath. Of course they have been saddled with many new stresses - financial and job related primarily. Perhaps coming out of this, people will be able to slow down and prioritize their lives and say no to things more often. 7. Do you believe or can you see if the Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19? I guess people are getting more savvy at digital interaction and disseminating their work in a digital platform. There is already so much digital work to chose from, it’s amazing. I think the pandemic will reaffirm that we all love the relationship between art and audiences which is at the core of our art practice. And we will be much more sensitive to that innate relationship when we can be together again. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? Will streaming/online/ You Tube performances be part of a ‘new normal’ for the live theatre/performing arts scene? See above - I know that government funders really want us to explore digital platforms for our art, especially in the short-term. And of course we will/are. But in the long term, theatre needs to be experienced live. That is what makes it transformational for audiences and artists alike. 9. As 4th Line Theatre’s Managing Artistic Director, where do you see the future of 4th Line headed as a result of this life changing event for all of us? Well, that is the $64,000 question isn’t it? I hope we return to a version of normal in the not too distant future. I hope to welcome audiences back to the farm as soon as it is safe. I think we, at 4th Line, are ideally suited to do that earlier than some theatres because we are outdoors, and we can achieve social distancing without much fuss. I worry about the theatre’s fiscal viability, of course. But I know that when we started the theatre in 1992, we started small and very community based. And if we have to, we can go back to that simplicity. 2021 will be our 30th season and I am trying to imagine that a return to our roots might not be the worst thing that ever happened. When audiences are ready to come back to the farm, we want to ensure we are there to welcome them. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: 1. What is your favourite word? Daughter 2. What is your least favourite word? Taxes 3. What turns you on? Funny people 4. What turns you off? Lack of personal and professional integrity 5. What sound or noise do you love? It’s a tie between the sound of my daughter’s voice and the roar of an audience’s laughter. 6. What sound or noise bothers you? Many sounds - I have moderate misophonia - especially candies being unwrapped in the theatre. ;) 7. What is your favourite curse word? The ‘c’ word 😉 8. What profession, other than your own, would you have liked to attempt? Criminal law 9. What profession would you not like to do? Garbage Collector 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “ I know, I am surprised as you are!!!” To learn more about 4th Line Theatre, visit www.4thlinetheatre.on.ca . Previous Next

A talk with a professional artist about their career. Back Bahareh Yaraghi Self Isolated Artist Anita Alberto Joe Szekeres The first time I had seen Bahareh Yaraghi’s work onstage was during Stratford Festival’s 2018 production of Oscar Wilde’s ‘An Ideal Husband’. Her confident performance as conniving Laura Cheveley certainly made me pay attention to this character and to the story itself since Wilde’s tale of the context of cheating in Victorian England took on a different meaning in our #metoo world today. I then saw Ms. Yaraghi as daughter Emmy in ‘A Doll’s House Part 2’ when central character, Nora, knocks on that same door she slammed years ago. For me, it was interesting to watch from an acting perspective just how Ms. Yaraghi approached the daughter-mother relationship in ‘A Doll’s House Part 2’. Well, the mother-daughter relationship was taken to an entirely complex level of intrigue in female empowerment when I saw Bahareh’s divine performance (as I called it in my review) in ‘Oil’ at ARC just this past February. The audience viscerally witnesses a mother’s tumultuous relationship with her child (as a baby waiting to be born, a young person and adult) at three extremely different time frames. For me, Ms. Yaraghi has always captured a natural and convincing vocal delivery which makes me want to listen to the story she is telling and the journey she is about to take me on with her. I am most certainly looking forward to her next performance once the pandemic is lifted. She received her BA from McGill University and then trained at Humber Theatre School. A six time Dora award nominee, Ms. Yaraghi has performed on numerous stages in Toronto and across the country. She has been an ARC company member since 2012 and has appeared in past ARC productions since then including ‘Bea’ ‘Moment’ and ‘Pomona’. We conducted our interview via email: 1. How have you been keeping during this crisis? How has your immediate family been keeping during this crisis? I’m grateful to say that all my family and loved ones are all safe and healthy around the globe. We are so privileged in so many ways to be living in Canada, so my husband and I try to keep our focus on the positives, as opposed to all the uncertainties and sadness out there in the world. I’ve learned that if I literally take it one day at a time, my spirit feels much happier that way. 2. As a performing artist, what has/have been the most challenging and difficult element (s) for you? I MISS PEOPLE!!!! I miss interacting, hugging, talking, and collaborating with PEOPLE! Ok, I got that out of my system. As an artist, one of my biggest joys is to be in a room filled with fellow artists, creating work together and ultimately sharing that work with our community. Not being able to do that right now – or for the unforeseeable future – is of course extremely challenging and scary. But all artists around the globe are in the exact same position – so, staying patient and shifting my focus to my TODAY is what is most important right now. The rest will fall back into place when the time is right. 3. Were you in rehearsals, pre-production or performances of any production was the pandemic was declared and a quarantine was imposed? What has or will become of any of those productions in which you involved directly or indirectly? Yes, I was in the middle of ARC’s production of OIL. We had begun the 2nd week of our run, when we quickly realized we had to make the tough, but necessary, decision to cancel our 3rd week of performances. It was such a beast of a show and I was so proud to be telling it with such a wonderful group of humans. It was heartbreaking to have to close it early, but we considered ourselves very lucky to have had 2 weeks with it and to be able to share it. I was also supposed to start rehearsals for Soulpepper/Necessary Angel’s WINTER SOLSTICE that following week which, of course, was sadly cancelled as well. Fingers crossed you will see both productions programmed in the future. 4. What have you been doing during this time to keep yourself busy? I’ve kept myself quite active, socially. Zoom, phone, and FaceTime conversations with friends and family that I always feel I don’t have enough time for. Now I do and that’s a great feeling. I’m finding that physical exercise and meditation are vital to me right now, and they help me feel strong, calm and light. Otherwise, lots of cooking!! Which I absolutely love (I read cookbooks like they’re novels), lots of catching up on movies/tv shows with my husband, and lastly, I’ve been keeping busy working on the future of ARC with my fellow collaborators. There’s lots of exciting ARC news in the works, so stay tuned! 5. Do you have any words of wisdom or sage advice to other performing artists/actors who have been hit hard by this pandemic? Any words of advice to new actors out of theatre schools? The other day a good friend of mine said, “I don’t think I’ve got this covid thing figured out yet.” I understood exactly what he meant: he doesn’t know how he’s ‘supposed’ to feel, how he’s ‘supposed’ to use all this new-found free time, how he’s ‘supposed’ to feel creative when he’s not necessarily inspired, how his perspective ‘should’ be changing because of all this world change. However, I don’t think most of us do. My only advice to anyone would be to keep yourself strong and healthy – physically and mentally – as best you can. Stay hyper-sensitive to the things that truly bring you joy and peace, that truly enrich your spirit, and perhaps start contemplating on the things you will choose to reintroduce back into my life, or the things you’re ready to part ways with, when life and society picks back up. I think this “covid thing” can be a great opportunity for change. But it will require great thought, great strength, great belief and bravery. OR… Netflix and a bag of chips to ease the soul is also time well spent in my books! 6. Do you see anything positive stemming from COVID 19? The earth and the animals are much happier. The air quality is much more refreshing. And the rat race has been calmed. There’s so much relief in all of that. On a simple level, what I love is that we’re being reminded over and over again that we are all connected, that we need one another, and that we need to take care of each other otherwise we all fall. 7. In your opinion, will COVID 19 have some impact on the Canadian performing arts scene? I have no idea what the future of theatre looks like. Or sport events. Or concerts. Or any event where the energy from a live audience changes everyone’s experience. All I know is that we need immense patience. And the need, desire and hunger to tell and hear stories will come back strong and it will be powerful. I look forward to the re-emergence. 8. Some performing artists have turned to online streaming or You Tube presentations to showcase and/or share their work. In your opinion, is there any value to this presentation format? Will online streaming or You Tube presentations become part of the ‘new normal’ for performing artists? I haven’t watched any of them. I haven’t had the desire yet. I admire the artists testing the waters and finding new ways of sharing their work. Some artists may need to keep creating; and some artists might need stillness and time to process. Everyone has their own pace and might need different creative outlets (or none at all) during these extraordinary times. There is no right answer. But the search is necessary, and I appreciate that very much. 9. What is it about the performing arts community that you still love even though it has been tremendously affected by this pandemic? Oh, it’s one of the best communities in the world! I feel so lucky that I’ve devoted my life to it, even with all its challenges. My husband is not in the performing arts community and he always says, “theatre artists are some of the most intelligent, humble, hilarious, compassionate, well-spoken, and worldly people I’ve ever met.” And it’s true. The theatre community is rich in heart. And if your heart is full, it gives you a different kind of energy. And that energy remains strong, even through a pandemic. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests usually at the conclusion of the presentation: 1. What is your favourite word? Love 2. What is your least favourite word? (It’s two) Shut up 3. What turns you on? Wisdom 4. What turns you off? Excuses 5. What sound or noise do you love? Laughter 6. What sound or noise bothers you? Someone in pain that I cannot help 7. What is your favourite curse word? F**K 8. Other than your own at this moment, what other profession would you have liked to do? I wish my parents had put me in dance when I was a child. I think I’d be good at it. 9. What profession could you not see yourself doing? A surgeon 10. If Heaven exists, what do you think God will say to you as you approach the Pearly Gates? “Let’s dance, B”. Previous Next

A talk with a professional artist about their career. Back Marcus Nance Theatre Conversation in a Covid World Jerald Bezener Joe Szekeres Marcus Nance’s name is one I’ve heard in the Canadian professional theatre circuit for some time, but I never had the opportunity to see him perform. When he agreed to be interviewed and sent me his bio, I most certainly want to see this gentleman perform in future as his credentials and credits reveal extraordinarily fine work. American-Canadian bass-baritone Marcus Nance is equally at home in opera, musical theatre, concert, and cabaret. The New York Times described him as “a thrillingly powerful bass-baritone” while the Globe and Mail says he “has a rich voice and strong stage presence”. Marcus Nance garnered international attention as Malcolm in the world premiere of Atom Egoyan’s opera ‘Elsewhereless’ with Tapestry New Opera Works which earned him a Dora Mavor Moore Award nomination for Most Outstanding Male Performer. For Queen of Puddings Music Theatre, he created the role of Moses in the world premiere of the epic opera ‘Beatrice Chancy’, performing alongside opera superstar Measha Bruggergosman. His other opera credits include Porgy in excerpts from ‘Porgy and Bess’ with the Nathanial Dett Choral and the Toronto Symphony, Sparafucile in ‘Rigoletto’ with the Tacoma Opera, Compere in ‘Four Saints in Three Acts’ with Chicago Opera Theatre and an array of exciting roles and concerts with Santa Fe Opera, Glimmerglass Opera, Pacific Opera Victoria, Chautauqua Opera, Vancouver New Music, The National Arts Centre, Shreveport Opera, Ash-Lawn-Highland Summer Festival, Natchez Opera Festival, Orchestra London, Victoria Symphony, North York Symphony, Chautauqua Symphony, Fairbanks Festival Orchestra, Windsor Symphony, the Monterey Bay Symphony, the National Arts Centre Orchestra, Hawaii Opera Theatre, London Symphony, and the Monterey Bay Opera. New York audiences saw Marcus Nance on Broadway as Caiaphas in ‘Jesus Christ Superstar’, in Baz Luhrman’s Tony Award winning production of ‘La Boheme’, in New York City Centre ENCORES! productions of ‘Kismet’ and ‘Of Thee I Sing’, as Alidoro in ‘Cenerentola’ with New York City Opera Education and in concert at the Metropolitan Room. Recent projects include Rev. Alltalk in Volcano Theatre’s workshop of the reimagined production of Scott Joplin’s ‘Treemonisha’, Van Helsing in Innerchamber’s concert version of ‘Dracula’, and as Judge Turpin in the Shaw Festival’s production of ‘Sweeney Todd’ where the Toronto Star proclaimed that he “gives the production’s standout performance as the corrupt Judge Turpin: with his stunning singing voice and commanding physical presence, he is horribly convincing as a man who aborts justice and tramples morality…”. He has spent nine seasons at the prestigious Stratford Festival where his assignments have included the monster in ‘Frankenstein Revived’, Bill Bobstay in ‘H.M.S. Pinafore’, Caiaphas in ‘Jesus Christ Superstar’, Queequeg in Morris Panych’s ‘Moby Dick’ and Rev. J.D. Montgomery in Gershwin’s ‘My One and Only’. He has also made seen as the Mikado in ‘The Mikado’ for Drayton Entertainment, and Clairborne in Charlottetown Festival’s world premiere of ‘Evangeline’. Expanding further his creativity and artistic horizons, Marcus Nance has has made his film debut as the Singing Accountant in Mel Brooke’s feature film ‘The Producers ’ starring Nathan Lane and Matthew Broderick and his television debut as Rev. Moses in the opera ‘Beatrice Chancey’. He has also appeared in concert at the Cornwall Concert Series, Primavera Concerts, Elora Festival, Toronto’s Jazz Bistro, the Metropolitan Room in New York City, Stratford Summer Music, the Elora Festival, the Toronto Jazz Festival and as a regular guest with the Ottawa Jazz Orchestra. We conducted our conversation via email, but I had the opportunity to speak with Marcus briefly via Zoom: In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? By nature, I am a positive and happy person. So, a year ago when rehearsals at the Stratford Festival abruptly stopped, my goal was to make good use of my time and to not sit around and wallow in self-pity. It was easy at the beginning because I never dreamed that a year later, I would still be waiting to get back into the theatre. So, between that day and now I have had my ups and downs. Days of panic and days of joyful discoveries about life and purpose. The biggest disappointment was not being able to play the monster in Morris Panych’s production of ‘Frankenstein’ in the new Tom Patterson Theatre at the Stratford Festival. I was so excited to be asked to play this character. It was an opportunity of a lifetime for me. But as the death toll from the Coronavirus began to rise, I got over myself and realized that just being alive at this time in history was a greater gift than any role I could ever be offered. I am heartbroken at all the lives we have lost. How have you been spending your time since the theatre industry has been locked up tight as a drum? I have actually stayed busy doing a number of different things. One: My husband (music director Franklin Brasz) and I always work in the summer. So to have a summer off is highly unusual. We decided to make lemonade out of lemons, and we bought a tiny trailer. We spent the summer and fall camping all over Ontario. I absolutely loved it. I love cooking outside, going on hikes, hanging out on the beach, and drinking gin and tonics all night. I can honestly say that camping saved us and kept us from falling into depression. In the end it has made this a summer to remember. A life highlight. Two: Many years ago, I tried to get involved in the tv/film world, but an experience of blatant homophobia caused me to flee that world with no intention to ever go back. When COVID hit, my agent wrote me and suggested I be submitted for tv/film as that industry was still able to produce safely. I figured I had nothing to lose so I said yes. To my shock this has kept me busy all year. I never thought it was possible, but the opportunities empowered me and helped to erase the negative experiences I had to deal with earlier in my career. It really made me happy to know that the world is changing for gay people. Three: I started teaching voice again. I was asked to give masterclasses in Nevada, California, and Colorado. I also rejoined the faculty of Sheridan College and started giving private voice lessons from my home (via Zoom of course). I love working with young artists. Four: I started modelling again! I contacted a modelling agency I had worked with many years ago and they were thrilled to have me back. I shot two fun campaigns. At 56 years old who would have thought? Five: Lastly, I was given some incredible opportunities to film performances for online streaming. Highlights being a Christmas concert for Stratford Summer Music filmed at the beautiful Knox Church in downtown Stratford, and filming my cabaret “Voice of a Preacher’s Son” on the Stratford Festival stage for their upcoming series “Up Close and Musical” for stratfest@home The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else? COVID, an escape? No! Covid didn’t allow me to escape because it gave me too much free time to think. I was consumed with BLM and the racism that was being exposed all around me. I was consumed with the racist US president and with those that supported him. I was consumed with watching people die while others were protes7ng masks. Had I been performing eight shows a week at the Stratford Festival, I would have had a place to escape from the world. I would have put my energy into performing and laughing in the wings with my friends. So COVID was not an escape for me. I’ve interviewed a few artists several months ago who said that the theatre industry will probably be shut down and not go full head on until at least 2022. There may be pockets of outdoor theatre where safety protocols are in place. What are your comments about this? Do you think you and your colleagues/fellow artists will not return until 2022? That sounds about right. My gut is telling me that the world needs another year to get everything in order. The new strains of COVID, the lack of enough vaccine, the COVID deniers… yes, we need another year to fix all this and allow ourselves and our audiences the 7me needed to allow everyone to feel comfortable coming back to the theatre. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? I have more appreciation for what I do. Not that I didn’t appreciate art before but having been in the business for over 30 years, one does start to take it for granted… feeling that it will always be there. I now know that that’s not true. Anything can be lost to us at any 7me. I have spent a lot of hours on YouTube as of late, watching ballet dancers, opera singers, orchestral performers and theatre performers and I can’t help but feel the pain of all these amazing people who suddenly lost their jobs because of COVID. All the work that goes into perfecting their crafts and suddenly they have nowhere to share that talent. I don’t think anyone of these people will take their art for granted ever again. 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? COVID is dangerous, so yes, I have felt a sense of danger for me and for others. 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? This time of COVID has forced us to sit still and to listen. I am sensitive by nature, but my heart is more open than it ever was to the world and to those in need of being heard or acknowledged. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any curiosity in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I will answer this by saying that I have always been curious about what it means to “follow one’s own path” and COVID has forced me to do that. To be creative, to try new things, to work toward the impossible to see if it’s actually possible. In the last year I feel that I have done these things and I have discovered so much about myself. This pandemic is not over and this next year will most definitely test us. Can we continue to strive and grow? Do we have it in us to stay healthy and hopeful for another year? I think so and I hope so. To learn more about Marcus, visit his website: www.marcusnance.com . Previous Next

A talk with a professional artist about their career. Back Eric Woolfe "I find theatre artists are often really conservative in their imagination...We’re reluctant as theatre artists to engage the imagination of our audiences" Dahlia Katz Joe Szekeres Artistic Director Eric Woolfe of Eldritch Theatre thinks of himself as a guy who works in show business. He tries not to refer to himself as an artist. Born into the performing arts profession, Eric grew up in London, Ontario, and worked at the Grand Theatre. His first professional job at ten was in the Grand’s production of ‘A Christmas Carol,’ given to him by Director Bernard Hopkins in 1982. Actor Barry Morse appeared as Scrooge as did London Ontario actor Tom McCamus as Bob Cratchit. By age fifteen, Eric took semesters off school and worked across the country for the last forty-some years. Eldritch bills itself as Toronto’s only theatre company specializing in ghoulishly giddy tales of horror and the uncanny. During our Zoom call, Eric enlightened me further, saying ‘Eldritch’ is an old archaic word that means ‘strange and eerie.’ It became a bit of a joke that the name Eldritch was used as the title of the theatre company: “Our first show was for the Summerworks Festival almost 25 years ago. It was called ‘The Strange & Eerie Memoirs of Billy Wuthergloom.” We were running overtime by about a half hour for the time limit the Festival gave us, so I came in with a hacked piece of the version of the script which fit in the time. Just as a joke for the director, I crossed out the title and wrote ‘Billy’s Eldritch Diary’ to shorten it, and we thought, why not call the company The Eldritch Theatre?” Eldritch Theatre operates from Toronto’s Queen Street East’s Red Sandcastle Theatre. They were two separate entities until they married when Eldritch took over the space in December 2021. The art form of puppetry remains an important part of Eldritch Theatre. The first show performed by Eldritch was a one-person show. Rod Beattie travelled with the Wingfield plays nationwide. Eric thought if he did a one-person show, he would play all the different characters while Rod did his own show. Woolfe compared it to writing symphonies in Vienna in the time of Beethoven. Eldritch puppets are both strangely grotesque yet beautifully alluring simultaneously. That’s the trump suit for Eric. Yes, puppetry is an art form, but he quickly discovered that it exists in the audience's mind. In turn, it is the audience that creates the performance: “A puppet is an inanimate object being wiggled by someone. It doesn’t have sentience. It doesn’t move on its own and we know it … Nobody is fooled, but the audience creates the existence of that puppet character in your mind when you’re watching it...we imbue that inanimate thing with life.” Woolfe’s extensive knowledge of puppetry kept me on his every word. Since the supernatural and horror plays into Eldritch’s season, using a puppet can connect further with an audience, more so than, say, a character in a costume. Eric spoke about an earlier play from Eldritch about Jack the Ripper. The first scene was a dream sequence of one of the last victims who was having a nightmare about Alice in Wonderland and a giant, 15-foot-tall caterpillar puppet. That puppet could be funny one moment, threatening, sexual, aggressive, angry, weird, and jump from these different tones and from word to word and line to line because he was a puppet. If that exact text were done with an actor in a giant caterpillar costume, the only thing that caterpillar could be would be vaguely stupid. There’s no same ability to stretch tone and get under people’s skin when using human beings. Often puppetry and magic go together at Eldritch: “Magic is an opposite art form of puppetry…if it’s a puppetry performance, we are complicit to suspend disbelief to make that puppet come to life because wonder has been created. If it’s a magic trick, it works when the audience resists suspending their disbelief and has no other ability to explain what has just been seen.” The last three years for the theatre industry have been challenging for commercial theatre. Eric refers to himself as ‘the angry outsider.’ He despairs and feels terrible for those theatre companies that find it challenging. Woolfe doesn’t find many things terrible right now in the larger sense regarding the industry for Eldritch. Everything has been pretty good. Eldritch shows are selling well at Red Sandcastle. The audience demographics for Eldritch are not all dying or people in their 80s. Eldritch audiences are leaving their houses and coming to see shows. People come because they feel the Sandcastle Auditorium is not a COVID trap. His upcoming show at Eldritch is ‘Macbeth: A Tale Told by An Idiot.’ Directed by Dylan Trowbridge and coinciding with the 400th anniversary of the play’s premiere, show dates run from February 8 – 24 inclusive; Eric told me that Dylan has been pushing for a few years now that Eldritch should present a Shakespearean play. Woolfe calls this ‘Macbeth’ a one-person, surreal, classic comic telling of the Bard’s classic with puppets and magic. He’s terrified about the upcoming production because it’s a lot. He plays every single character. Here’s what he had to say about the state of the theatre: “The real truth is I don’t like a lot of theatre. I find theatre artists are often really conservative in their imagination. I think in Canada, there are way too many plays set in kitchens and way too many stories about a broken family getting together at their father’s funeral. We’re reluctant as theatre artists to engage the imagination of our audiences…People interested in conservative theatre from years ago are not coming out anymore.” Woolfe even believes that when tackling the classics, often, when theatre companies present Shakespeare, what they’re really presenting is a kind of museum piece where it isn’t even really the play they’re doing. It’s a comment on other performances of another production of another play. For example, Eric said there have been pieces from ‘Hamlet’ handed down from generation to generation. Assumptions have been based on the text that are not based on the text. Instead, these scenes are based on performances of actors making choices that are copied and copied and copied. Younger, diverse audiences have not been reached yet, according to Eric. Why? The style of plays still echoes this old model of theatre viable in the 1960s and 1970s. Yes, ‘Macbeth’ is slated to begin performances shortly, but it’s a weird Macbeth. Eldritch’s idea is to blow up that preconceived notion of the old model of Shakespeare’s classic tragedy. I’m most certain that, under Director Trowbridge’s artistic vision, ‘Macbeth’ will be ‘aggressively unconventional yet still rooted in the actual words.” The Scottish play was one of my favourites to teach because there are witches, ghosts, and magic. It’s also Woolfe’s favourite; however, he has never really liked any production he has seen. Instead, he likes versions of Shakespeare that upset people because the plays don’t obey the rules, don’t bluster, or don’t attempt to entertain. He then made a most appropriate analogy: “As people make theatre, we try to worry that it’s good for you. We’re trying to make healthy plays, and sometimes in theatre, we’re like restaurants: “We have the best broccoli. Come and get the broccoli. Eat our broccoli; it’s good for you, and all we’re selling anybody is broccoli.” Broccoli is great, but it’s only one thing on the plate. There are all these other tastes and things you can serve. If the food happens to be good for you, that’s fantastic, but you don’t have to tell people. It shouldn’t be the selling point. The selling point is that this meal is wonderful and has broccoli that will taste good. Eldritch’s ‘Macbeth’ will be approached like this. It’s a horror play about fear with puppets and cartoon noises, and it’s everything that should be in a Macbeth without the bluster and stuffiness and attempting to do it properly. There are four sold-out school matinees. A steadily growing demand for tickets extends the production to February 24. Does he listen to feedback from audience members, reviewers, critics, and bloggers? Woolfe prefaced his answer by saying he was always the kid in school who never liked to do the assignment the way the teacher asked. For example, if he wrote an essay, he would try to do something slightly different than the assignment. He spent a lot of time on it and did more work. Why did he do this? He thought the assignment may have been stupid or lacking any reason why it had to be done. So, when the graded assignment was returned, Eric was always that kid who was a tad annoyed when the teachers said he didn’t follow the conventions for the work. Eric reads the reviews. He listens to honest feedback. If every feedback or review is five stars, no one will pay much attention to what is said in the article. Woolfe remembers every bad review as opposed to the good ones, but the thing to answer regarding feedback, whether it be from audience members, reviewers, critics, or bloggers: “We are entering a world where people expect to be able to get entertainment that appeals to their specific tailored individual tastes...Theatre has to reflect this. Over the years at Eldritch, we are building our little niche market and our growing fanbase of weird nerds who don’t go to all theatre but like the horror stuff of comic books, Dungeons and Dragons, sci-fi movies and strange things with puppets and Tarot cards…This is our audience base. Everybody is welcome here at Eldritch Theatre, but it is a specific tent.” What’s next for Eric once ‘Macbeth: A Tale Told by An Idiot’ concludes its run? A series of play readings of some older plays from early on in Eldritch’s existence is happening through February and March. The season's final show is ‘The House at Poe Corner,’ from April 11-21, 2024, written by Woolfe and Michael O’Brien. To learn more about Eldritch Theatre, visit eldritchtheatre.ca. You can also find the company on Facebook. Tickets for ‘Macbeth: A Tale Told by An Idiot’: https://www.ticketscene.ca/events/45534/ Previous Next

A talk with a professional artist about their career. Back Ted Dykstra and Diana Bentley The Self Isolated Artists Melissa Renwick/Toronto Star File Photo Joe Szekeres When I received an email from Ted Dykstra (Chief Engineer) today, I noticed at the bottom under his name he calls his Coal Mine Theatre, “Off-off Broadview theatre”. Very classy and clever, indeed, as he and his wife, Diana Bentley (Co-Chief Engineer of Coal Mine) have modelled their 80 seat theatre after the intimate, exciting and often daring productions that can be found in New York City’s ‘off-off Broadway scene’. To this day, I have never, ever, been disappointed with any of the intriguing and enthralling productions I have reviewed at Coal Mine. I must attribute its success to Diana and Ted, their dynamite slate of plays, and the outstanding actors/production crew members who continue to grace the stage here on Danforth Avenue. I have had the honour to have seen both Ms. Bentley and Mr. Dykstra perform at some of Canada’s finest theatres, and I must include Coal Mine here as well. Ms. Bentley gave a daring and brave performance as Filigree at Coal Mine in ‘Category E’. I will always remember how moved I was the first time I saw Mr. Dykstra’s co-creation of, what I believe is, one of Canada’s most famous plays, ‘Two Pianos, Four Hands’. I was pleased when they agreed to be interviewed via email: 1. How have you and the kids been doing during this tumultuous time of change and upheaval? Ted: Pretty well. We have an 18-month-old named Henry who thinks he hit the jackpot, as he of course has us to himself 24/7. Diana: I think, like most people, there are good days and then there are harder days. We are enjoying having this time at home together and with Henry, but of course we miss the other parts of our lives that we love like the Coal Mine. 2. What has been the most difficult or challenging for you during this isolation? What have you been doing to keep yourself busy during the time? (I know with children your attention will have to be on them first and foremost) Ted.: My son and daughter Theo and Rosie are with their mom, and we miss them very much. They miss us too, but I think they and Henry miss each other most of all! The other thing would be speculating on the future, which is “a mug’s game” but I sometimes do it anyway. Diana: We split the days so that one of us takes care of Henry while the other works. Right now I’m working on a television show that I’ve been wanting to pitch for a few years, and a one woman show that I have had sitting inside me for a year. Both are exciting and I’m happy for the time to draw my focus to them, but also trying to be gentle with myself. Right now we’re gearing up for a Coal Mine Zoom Board meeting so we’re still working too! 3. I believe ‘Cost of Living’ was in pre-production and intensive rehearsals when the pandemic was declared, and the quarantine imposed. How many weeks were you into rehearsals? Can you possibly see ‘Cost’ perhaps being part of this upcoming 2020-2021 season or a later season? Ted: We were to start rehearsals March 17. Our New York based actor Christine Bruno arrived March 15, a Sunday. We had her set up in an air bnb close to the theatre, had rented her a mobility scooter, (the play involves two characters who are physically disabled) and stocked her place with groceries. Because she needed to isolate for two weeks on arriving from the states, we decided that we would delay the whole show by a week. So she would isolate for a week, then we would begin rehearsals at the theatre, skyping her in for the first week. But two days after she arrived, we knew it was game over due to the acceleration of the virus’ spread. So we sent her back on the Tuesday. It was very sad of course. Diana: We are very committed to making sure ‘Cost of Living’ happens. The big question is when, but that’s the question for everything right now. When we return to making live theatre, when audiences feel safe to come back and then of course what shows we will program. Lots of questions and bridges to cross 4. Any words of wisdom or sage advice to performers/artists/actors who have been hit hard during this time? I’m sure this pandemic has hit hard on the new graduates of theatre schools. Any words of wisdom for them? Ted: Our jobs have never been assured, by anyone. This is a golden opportunity to learn this. I don’t think any of my neighbours in East York have thought once that they miss the theatre at this time. Rightly so. They have far more important things on their minds. So why are you wanting to do it? It’s an important thing to know for yourself. Good time to think about it! And if you have to do something else other than your heart’s desire to live for however long, like the rest of the world does, show yourself and the world you can do it well and without complaining. We are so lucky to be living the lives we are. And you can still write, read, create, dream - all the things you love. Don’t stop. Diana: Have faith. Go inward. Listen. 5. Do you see anything positive stemming from COVID 19? Will COVID 19 have some lasting impact and influence on the Canadian performing arts scene? Ted: Well if I were the environment, I’d be wishing the virus would stay a good long time, so there’s that! A life doing theatre has taught me a lot about humankind. Unfortunately, one of the conclusions I have reached is that no society, country, nation, continent has ever learned the lessons necessary to stave off their end. And this is, I think, a truth about humanity. We survive. We change, but usually only because we have to. As soon as we stop “having to”, we start to forget why we were doing it, and comfort and greed once again come to the foreground. Flip side of that? We keep inventing, writing, discovering, expanding in as many good ways as bad. But there isn’t anything we know now about being human on the inside then the Greeks knew 2500 years ago. Maybe we are waiting for a worldwide “aha!” moment. I sure hope it comes. But any time soon? I don’t think so… And would I love to be wrong? Of course! Theatre will continue, and some great plays will come of this time, as they have of every other time. But that’s nothing different. That’s what theatre does. So it will continue to do that. Diana: Gratitude and not taking anything for granted. 6. Some performing artists have turned to streaming and/or online/You Tube presentations to showcase or perform their work. In your opinion and estimation, is there any value to this during this time? What about in the future when we return to a sense of a new normal. Will streaming and online productions be the media go to? Ted: It’s not my cup of tea. Theatre to me is meant to be experienced in a room full of people. Theatrical performances are meant to take place in front of people. This raises the stakes, makes it so much more exciting. Watching a live play online, where actors are performing for no one, is what I would call television. And real television is an awful lot better. In fact it’s fantastic right now in terms of variety and excellence. No contest. Diana: For some people/ artists I am sure that will be exciting and essential. For Ted and I the Coal Mine is very much about the live experience so I’m not sure we’ll follow suit- but anything is possible! 7. What is it about performing and the arts scene that you still always adore? Ted: Great plays. The community. Great artists. My colleagues, friends. Memories. Moments. The anticipation excitement and hope on the first day of rehearsal. Working with designers, volunteers, stage managers, bartenders who are all infinitely better at their jobs than I could ever be. And the audience. The people who pay good money to see what we do because they love it and want it in their lives. Without them we are nothing. And after 45 years doing this, I can say without reservation that no matter what happens to The Coal Mine, we have been blessed with the finest patrons I have ever had the privilege of working for! Diana: The artists. I miss them so much. As a nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests at the conclusion of his interview: 1. What is your favourite word? Ted: Geselig. It’s a Dutch word that has no direct translation that describes the feeling of comfort, coziness, acceptance, serenity given by say a fireplace in the winter with your favourite drink in hand and a blanket and two or three of your most favourite people in the room who share the feeling and are enjoying it as much as you, with no worries present whatsoever. And it’s snowing outside. The big, slow, thick flakes. Diana: Cantankerous 2. What is your least favourite word? Ted: The N word. Diana: Bitch 3. What turns you on? Ted: My wife. Diana: The Giggles 4. What turns you off? Ted: People who can’t laugh at themselves Diana: Narcissism 5. What sound or noise do you love? Ted: My kids’ laughter. Diana: The sound of our son talking to himself in his crib in the morning. 6. What sound or noise bothers you? Ted: Anything whatsoever no matter how small that I can hear when trying to go to sleep. Diana: Loud crunching. 7. What is your favourite curse word? Ted: It’s a phrase I came up with when I was directing Shakespeare in Calgary. “Fuck my balls.” Diana: F**k 8. What profession, other than your own, would you have like to do? Ted: Astronaut. Diana : Fiction writer. 9. What profession could you not see yourself doing? Ted: Easy. Stage Management. Diana: Dentist 10. If Heaven exists, what would you hope God will say to you as you approach the Pearly Gates? Ted: “You were a good dad, so we’re gonna let the other stuff slide.” Diana: “High Five!” Photo of Ted Dykstra and Diana Bentley by Melissa Renwick/Toronto Star File Photo To learn more about Coal Mine Theatre and its upcoming season, visit www.coalminetheatre.com . Previous Next

A talk with a professional artist about their career. Back Jessica B. Hill Theatre Conversation in a Covid World Ann Baggley Joe Szekeres I’ve seen some of the extraordinary work from The Stratford Festival in which Jessica performed: Mother’s Daughter, All My Sons and one of my favourites: ‘The Crucible’ Jessica is an actor and writer. She holds a BA from McGill University in English Theatre Studies and is a graduate of Stratford Festival’s Birmingham Conservatory for Classical Theatre. She has been a member of the Stratford Festival for the last five seasons. Performing lead roles in The Comedy of Errors, Brontë: The World Without and Mother’s Daughter, and appearing in The Crucible, Paradise Lost, The Changeling, All My Sons, and Bunny. When Covid closed the theatres last March, she was entering her sixth season with the Festival and preparing to play Lady Anne in Richard III and Helena in All’s Well That Ends Well. Film and TV credits include The Boys, What We Do In The Shadows, Slaxx, On the Basis of Sex, and Hero: The Life and Times of Ulric Cross. She’s a recipient of the Mary Savidge Award that recognizes an actress who has shown outstanding dedication to her craft. Fluently bilingual, she works both in English and French in theatre, voice, film, and television. Her first play, The Dark Lady, is currently being co-developed with Shakespeare in the Ruins and The Stratford Festival, with support from the Manitoba Association of Playwrights and Shakespeare on the Saskatchewan. It imagines a modern take on Emilia Bassano, the woman who allegedly inspired Shakespeare’s Dark Lady sonnets. The idea began as an intertextual poetry reading put on as part of the outdoor Here for Now Theatre Festival in Stratford, last summer. We conducted our conversation through Zoom. Thank you once again, Jessica, for the opportunity to hear and to listen to your voice about these important issues. In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? (a frustrated sigh first from her)…Let’s go with okay. I think we’ve been very, very lucky. My immediate family and I are healthy. We’re taking every precaution we can navigating through this. Of course, we get cabin fever, we get bored and sometimes depressed and frustrated but we’re getting better at dealing with it and helping each other deal with it. Sometimes it’s as easy as, “Oh, let’s go for a walk”, and other times it takes a bit more time. It comes in waves; I think everyone is starting to feel that. It’s not always easy to stay focused or motivated but I feel very, very lucky that I have my family nearby here in Montreal. The curfew is still in place here. We’ve don’t have any real reason to leave the house after 8 pm here in Montreal so that hasn’t really affected us, but it’s more the idea of the curfew which is sometimes hard. How have you been spending your time since the theatre industry has been locked up tight as a drum? Oh, boy, okay. I guess I should start from the top. Well, the first few months of spring were terrible. We had been going full speed ahead in rehearsals at Stratford and suddenly it honestly felt like slamming into a brick wall. It was shock. It took a while to overcome and to get my bearings back. What really saved me creatively was suddenly having to write a play on a tight deadline. The Here for Now Festival is based in Stratford. They reached out to me in June, I think, and asked if I had something I was working on they’d like to present for the small outdoor crowd in July. They were banking on the fact we could still gather outside, and I had nothing, but I said, Yes, anyway. Whether it was Insanity, depression or yearning, and I spent a month pouring myself into an idea I guess I always been thinking about but never crystallized into a proper idea, but now I had the time to delve into the script. It was a really interesting time because the Here for Now Festival in Stratford was probably one of the first outdoor performances coming out of lockdown, and everyone was still feeling quite tentative. We got to perform the script four times to this amazing and generous crowd of people, just the sweetest audience, so so generous. I think that was the spark I needed to keep the fire burning for me. It reminded me of how important and special it was to gather, that magic of sharing an experience with an audience. I thought, “Well, just because I can’t perform doesn’t mean I can’t work.” This idea of writing and generating the work allowed me to work on my craft in an exciting new way and to develop as an artist even if I can’t perform. Just because there is no performance doesn’t mean there is no theatre. The late Hal Prince described the theatre as an escape for him. Would you say that Covid has been an escape for you or would you describe this near year long absence from the theatre as something else? I wouldn’t call it an escape. A break from performance, but theatre, storytelling and ideas are everywhere all the time. I use the word ‘reflection’ or in French we use the word ‘ressourcement’, the idea of returning back to sources of inspiration. Covid has given us a lot of time to reflect, to take stock, and to contemplate and replenish our creativity as much as we can. We never wish for this much time between gigs as we always have this frenetic pace in going from one job to the next. So, it’s un-stabilizing to have this much time and uncertainty. Since we’ve been given this time, I can’t help but want to use it as best I can. 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 can’t make that call as I have no idea. I’d love for this to be wrong and to be pleasantly surprised. If Covid has taught us anything, there’s nothing set in stone, right? I think it’ll be bumpy and lopsided as we return. We’re not all in the same boat, but we’re in the same storm. Because of the fluctuating protocols and case numbers and vaccine roll outs now, some theatres might re-open before others. There’ll probably be a game of stop and start as well, so I don’t think we can see it as a linear path just yet. 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? Transformed is the word, but it’s a metamorphosis. It’s a feeling of the experience itself before it becomes wisdom (if that makes any sense), knowing something is important while it’s happening but not quite sure what part of the story you should be holding onto. I feel like I’m a completely different person from whom I was last March, and I’m sure I’m not the only one who says that. The most important coming out of this, for me, is a sense of responsibility. I’ve been thinking a lot about the stories we tell in the theatre and how we choose to tell them. What is that responsibility that comes next? We’ve been given this time to re-imagine what theatre is and can be. It’s going to be transcendent. 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? Well, the danger should be in the work, and not in the reality. For the work to be dangerous, we have to feel trust, security and safety in the rehearsal space. No good theatre will come out of actors fearing for their lives or for their loved ones. This also ties into how do we come back with precautions on how to return as safely as we can. It’s going to take time probably to feel safe again. I think the fear, the grief, the isolation, the frustration, that sense of danger you’re talking about, can’t help but make its way into an artist’s work, the ethos, I’m not sure how yet as we’re still in the thick of it, but I’ll have to see where and how it comes. The optimist in me wants to think that all that danger we’re living through will help create the most extraordinary and electric and profoundly intimate art. After months and months of isolation, watching people connect on stage will be healing and exhilarating. 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 had trouble with this question….Hmmmmm….. There’s an openness that I felt; this willingness to just let the feelings do their thing – to be vulnerable, authentic, ugly, brutally honest. And it’s a realization, upon a realization, upon a realization that you can only really live in the present moment. I keep thinking of Rilke’s poem: “Let everything happen/Beauty and terror/Just keep going/No feeling is final.” It’s all material; it’s all raw - the stuff of what you can build out of (if that makes sense). It’s all raw material that you can source from later on. I’m already a sensitive person to begin with. I’m a hugger and I don’t just hug out of formality. I need to feel a connection to the other person. I need to feel that fleeting moment of a shared presence like, ‘Yah, that’s here.” Hugs might be gone for awhile. We’re going to have to open ourselves for a new definition of theatre when we get back because it’s going to take time. Outdoor theatre is where it starts. 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 during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? Oh, hugely so because I’ve always wanted to write and I’ve never given myself the time to do so. The fall and winter has been developing my curiosity in my playwright’s voice. I’m developing a whole other side and artistic practice. It’s all curiosity. It is what has been keeping me going and getting curious about connection between different art forms, about different sources of inspiration and letting ideas bounce off each other. Things that don’t necessarily connect are now interconnecting in ways I hadn’t thought possible which surprise me and excite me. There’s so much baggage from Covid. It’s isolated us as a community, everything from meeting each other to practicing what we love. There’s so much time right now to get curious about things and that’s the silver lining to this whole thing of Covid. When things get going again, I still want to hold onto that feeling of openness in being curious about other things. I’m back into drawing and sketching. Follow Jessica on Instagram: @jessicabhill AND Twitter: @bhilljessica Follow Jessica on her website: www.jessicabhill.com . Previous Next

A talk with a professional artist about their career. Back Dennis Garnhum Self Isolated Artist Courtesy of Grand Theatre, London, Ontario Joe Szekeres The four years pursuing my undergraduate Arts Degree at King’s College, University of Western Ontario (now known as Western University) solidly shaped my personal and professional interests in the Arts. One of those areas where I still believe the city holds its appeal is in the performing arts sector. When I attended Western, Purple Patches was one of the central student theatre groups on campus which provided a creative outlet for likeminded individuals. I also remember the extraordinary Grand Theatre where I saw some wonderful productions nearly forty years ago. When I started reviewing for On Stage, I wanted to make sure the Grand was included. I have seen some terrific world class professional theatre there recently, and I am always grateful when the invitation has been extended to me to come to London to review their opening night performance The Current Covid pandemic has thrown the professional performing arts sector into a tailspin that has many, who hold a vested interest in it, still reeling from the devastating impact. It’s going to take an extraordinarily calm and clear-headed individual to sift through with a firm grasp and clear vision to move forward into an unknown and uncertain future. I spoke about this quality trait in an earlier profile regarding the Stratford Festival’s Director, Antoni Cimolino. I also place The Grand Theatre’s Artistic Director, Dennis Garnhum, in this same category with Mr. Cimolino. Mr. Garnhum became Artistic Director of the Grand in the fall of 2016. His credentials have been profoundly notable within the theatre community. Since his arrival and return home to London, Dennis has created several new programs with the Grand. He has also launched a new partnership with Sheridan College’s Canadian Music Theatre Program that now positions The Grand’s High School for its next phase of development. Across Canada, Dennis has directed many plays, musicals, and operas with a number of companies. At the Grand Theatre, he directed Timothy Findley’s ‘The Wars’, ‘Prom Queen’ and ‘Cabaret’. He was set to direct the premiere of ‘Grow’ before it was cancelled on account of the Covid pandemic. Dennis and I held our interview via email: 1. How have you and your family been keeping during this two-month isolation? We have found some creative ways to fill our days: I work for the Grand in the basement, my husband’s office and broadcast studio (he’s a journalist) is the bedroom, and our daughters bedroom doubles as her school room. We started tiny school: 4 kids, 5 parents all on zoom. One class a day taught by a different parent. I teach drama and art! 2. What has been most challenging and difficult for you and your family during this time? What have you all been doing to keep yourselves busy? The most difficult thing is to not be able to reach out and touch and play. Our daughter, Abby, is most affected by it. We always have a minimum hour of outdoor time daily and I have organized and reorganized the house a few times. 3. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts scene and on the city of London itself? We will refer to the time before and the time after COVID no doubt. Ultimately, I think the ultimate impact will be positive: streamlining, priorities and abundant passion. We will focus on doing less, better, and with more imagination and thrill. The City of London too will learn from these things, and I do believe prosper. People will discover London is a perfect city to live in: it has a lot more space than the larger cities, combined with great things to do: Population will rise. 4. Do you have any words of wisdom to build hope and faith in those performing artists and employees of The Grand who have been hit hard as a result of COVID 19? Any words of fatherly advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? First of all, I have great compassion for the loyal Grand team whose jobs and lives were interrupted with very little notice. People who work at the Grand live in London and make their lives mostly around being with us - so that is without doubt the most painful thing of this time - not being able to continue to make theatre. My hope is that we return to work sooner than later, that we will return to a company and a city willing to enjoy live theatre. The last thing we did was to have a staff breakfast on that fateful day (March 13) and one of the first things we will do will be to sit together and share a meal again. I miss these beautiful people. This past year the Grand Theatre’s production of GROW was workshopped at Sheridan College and at Goodspeed Opera House. Both events used incredibly talented graduating students. They are now out in the world - waiting. I can see their bright faces. My advice is just to be clear with one thought: We’ll return. You’ve lived this dream this long - keep it in your heart - don’t focus on the dark thoughts - and think how glorious it will be when you are able to be on our stages. And you will. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? Only positive things. Everything will be reconsidered. The best part, I think, is how we will appreciate what we had to a greater extent. I think it will make for extraordinary conversations. 6. I’ve spoken with some individuals who believe that online streaming and You Tube presentations destroy the theatrical impact of those who have gathered with anticipation to watch a performance. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I think online streaming was a brilliant first effort and reaction to a need. What do we have? Computers - and go! I think it’s usefulness is nearly done - and won’t play an important part in live theatre in the future. It’s film. I think it will speed up meetings and allow for some very creative shoutouts etc. But, live theatre is live theatre: people sharing stories in a room. 7. What is it about the Grand Theatre that you still adore in your role as Artistic Director? Well, I adore everything about this role. Everything. What I appreciate the most right now, is that it is a complete honour to be working at the Grand Theatre during this point in history - and I know my role is to be part of team who sees it through to bright, bright, better days. With a respectful acknowledgement to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Beautiful. 2. What is your least favourite word? No. 3. What turns you on? People. 4. What turns you off? Long lines. 5. What sound or noise do you love? My family laughing at the same time. 6. What sound or noise bothers you? Car horns. 7. What is your favourite curse word? Dang. 8. Other than your current profession now, what other profession would you have liked to attempt? Architect. 9. What profession could you not see yourself doing? Giving out parking tickets - too stressful. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “I have a Muskoka chair by the lake waiting.” To learn more about the Grand Theatre, visit www.grandtheatre.com . Previous Next

A talk with a professional artist about their career. Back Marshall Pynkoski and Jeannette Lajeunesse Zingg “The opportunity to focus exclusively on the creation of new repertoire is a luxury we could never have dreamed of when Opera Atelier first began.” Credit: Bruce Zinger. Photo of Jeannette and Marshall taken from the Opera Atelier website. Joe Szekeres I’ve had a few conversations with Marshall Pynkoski and Jeannette Lajeunesse Zingg over the years. They are a warm and personable couple who enjoy chatting with theatre lovers, particularly those who appreciate attending the opera and ballet. Respect is the first thing that comes to mind whenever I speak with them. Marshall and Jeannette command respect. Additionally, their respect for others and of others professionally can be seen in their love for the fine theatrical art forms of opera and ballet. They also show respect for the audiences who have been loyal to Opera Atelier. 2025 marks a celebratory milestone – forty years. How are they both feeling about their selfless work with the company? In a recent email interview, Marshall and Jeannette expressed their overwhelming gratitude for the passion the Opera Atelier community has shown for the company. The years have raced by. Atelier has defined their lives. It is the creative process that gives their lives meaning. The eternal values of truth, beauty, and goodness are not figments of their imagination. These values exist, and Marshall and Jeannette, as artists, are designed to seek them. The past five years have not always fostered the growth of the artist, nor of opera and ballet, however. The world we know has changed from Covid, budget concerns and a constantly shifting political landscape. These hard facts have presented Atelier with challenges that could have been insurmountable. Nevertheless, the company’s vision and reality remain constant. By that, Marshall and Jeannette don’t mean their vision is rigid or codified: “Adhering to the principles that ground our creative process and lives ensure that we have a base that encourages fluidity, change and a constant reassessing of our creative process and a constant re-assessing of [the company’s] mandate.” As the two of them look at the list of productions Atelier has produced and their international touring schedule over the past four decades, it has little sense of reality. All the component parts are part of a much bigger picture that makes up the very fabric of their lives. Going forward, they say: “Our belief in the importance of Opera Atelier’s repertoire and the unwavering commitment of our artists carries us through these challenges and ensures that we never lose sight of the ultimate goal – the reaching and striving for excellence and the commitment to productions that remain coherent and life-affirming.” From April 9 – 13, 2025, Opera Atelier presents Marc Antoine Charpentier’s opera ‘David and Jonathas.’ In Charpentier’s hands, the opera becomes an extraordinary love story—in fact, a love triangle, with the complicated relationships between Saül and his son Jonathas and the extraordinary events that thrust the young shepherd, David, into their lives. Marshall does not want the audience to forget that a love story does not necessarily romance. It is the ambiguity of the love shared by the three protagonists that make ‘David et Jonathas,’ in Marshall’s mind, a masterpiece of psychological tension. In fact, it is Saul’s love/hate obsession with David that drives the action of the opera, beginning with the Prologue in which Saül compromises his very soul by turning to the Pythonisse in an effort to foresee the future. Marshall says that it is to OA’s great advantage that Charpentier emerges as a consummate man of the theatre who understands that his job is both to inform and entertain. Charpentier masterfully realizes both responsibilities as he integrates the chorus and dancers as an integral part of the action. As a retired teacher myself, I wondered if Atelier encourages secondary school students to attend the opera, especially in a twenty-first-century world of gadgets and the internet. Jeannette and Marshall speak about the Making of an Opera program through the company, which continues to provide students with free arts education led by a diverse group of artists who have learned how to navigate the performing arts scene in Canada – opening doors of opportunity that would otherwise remain closed to underserved young people. Through hands-on workshops, masterclasses, and tickets to mainstage Opera Atelier productions of opera and ballet – all offered free of charge – Opera Atelier is committed to making a real and measurable difference in the lives of young people. Opera Atelier offers its bi-annual weeks of MOAO Workshops to Toronto area schools and presents a series of in-school workshops directly to students in Toronto's Neighbourhood Improvement Areas (NIAs). This season, the company expands its workshops to serve Hamilton and the Halton Region at Theatre Aquarius. Additionally, Atelier offers ongoing arts opportunities and performance tickets to first-generation Canadians, ensuring they are reaching young and new audiences across a broad spectrum of Toronto with more than 1,000 free tickets offered annually. What is 25/26's theme for Opera Atelier? It will be a Season of Magic. The season begins this Fall when the company presents the best-loved production of its entire repertoire Mozart’s ‘The Magic Flute.’ This life-affirming masterpiece seamlessly combines comedy with the profound belief that music has the power to give meaning and purpose to the lives of children, young people and adults alike. When Opera Atelier’s production of The Magic Flute premiered in 1991, it broke new ground as the first-period production in North America, propelling the company into the international spotlight. The second offering of the 25/26 season promises to do the same. After decades of planning, Atelier will unveil its production of Debussy’s dream-like masterpiece, ‘Pelléas et Mélisande.’ Both ‘The Magic Flute’ and ‘Pelléas et Mélisande’ represent pivotal moments in Opera Atelier’s continued journey as they reshape the concept of period performance. Audiences have always stood by Atelier. The company asks its audiences to do so again in going forward. In concluding our online conversation, Marshall and Jeannette avow that the well-being of Opera Atelier and the creation of new repertoire take up the majority of their time. That being said, their relationship with Château de Versailles Spectacles and the Royal Opera House in Versailles is one of the most fulfilling aspects of their creative lives. Thanks to the generosity and the vision of Château de Versailles Spectacles Director Laurent Brunner, they have the opportunity to produce in the most beautiful theatre in the world yearly and in an environment in which they have no responsibilities regarding fundraising or ticket sales. Artists are also dreamers, always looking to the positivity of the future. Marshall concluded our conversation with the following statement: “The opportunity to focus exclusively on the creation of new repertoire is a luxury we could never have dreamed of when Opera Atelier first began.” I look forward to saying hello to Marshall and Jeannette again very soon. To learn more about Opera Atelier, please visit www.operaatelier.com . Previous Next

A talk with a professional artist about their career. Back Steffi DiDomenicantonio Moving Forward Jasper Savage Joe Szekeres What an enjoyable conversation I had today with the bubbly and effervescent Steffi D. who truly is thankful and grateful for the many opportunities where her career has led her. I did a bit of online research about this George Brown College student who was the fifth-place finalist in the 2006 Canadian Idol reality based show. After Canadian Idol, Steffi has performed on stage in musical theatre roles, including national tours of Spring Awakening and in 2013 she received a Dora Mavor Moore Award nomination (similar to the Tonys) for best actress in a musical for her appearance in Toronto’s Young People’s Theatre production of Rodgers and Hammerstein’s ‘Cinderella’. Steffi also has a recurring role in the forthcoming television series ‘Crawford’. Steffi currently appears in the Toronto production of ‘Come from Away’. We conducted our conversation via Zoom: It has been an exceptionally long six months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? Uh, ok, I feel like this is tough because I feel as if we knew this moment was coming that the case numbers were going to spike again. I feel nervous, I feel a little bit anxious. When this all started I don’t think any of us thought we’d be sitting in our houses six months from now. When I got a text message from my Stage Manager on March 14 saying “Hey, don’t come into work today.” Who knew that it was literally to be six months from that moment? I don’t think anybody knew that was going to happen. I will say the one thing that makes feel a little bit more at peace when it comes to this is the entire world is going through the exact same thing. Everybody is in the same boat right now; everybody is going through the same thing. I guess, as far as this goes, yes, it’s unnerving the numbers are going up. But again, I feel as if more and more we need each other whether it’s over Zoom, either six feet away on a walk. A new way of living? Hmmmm…well I will say what seems unlikely right now. Giving someone either a hug or a handshake when you meet them sounds like it’s going to be a thing of the past. I think that’s really stressful and sad because we don’t get to connect in the same ways that we used to be able to connect for so so long. It’s going to be a little bit odd as we’re going to have to re-adjust the way we think of things. Who knew when cold and flu season rolled around, nobody thought to wear masks and not to get sick. Everyone was just rolling with the punches, get your flu shot. Honestly, I will never take my health for granted ever, ever again. How has your immediate family been doing during these last six months? My immediate family has been doing okay. My father is a radiologist so he’s still going to work at the hospital. My mom is technically retired now so she’s been spending a lot of time at home. My brother is a gastroenterologist and he’s working. As you can see I come from a family of a lot of doctors so all of them have still been going to work. I think everyone has been feeling okay. We had a bit of a scare. My grandmother is in a long-term care home. There was an outbreak there. Thankfully, she was totally fine so knock on wood that remains the case. I think everyone in my family has been really responsible so that’s good. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? Okay, I feel like they go hand in hand those two things, personally and professionally. Specifically, it’s a big lesson I’ve had to learn during this time is that I think Covid made me realize that I’m so intertwined with my job and my career, and performing is so much a part of my identity that I feel like it’s been really hard to be forcefully separated from that during this time. And understanding who I am without performance and who I am without my career being the biggest part of me. I think that’s been a really challenging thing for me to understand that I’m a person outside my job and what I do. It’s been an interesting and fascinating journey to go ‘Who am I underneath all of this?’ 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 booked a contract that didn’t end up happening because it was supposed to be on camera. Unfortunately, I can’t disclose what it was. Other than that, ‘Come from Away’ has been my bread and butter for the past three years. We had done 850 shows at that time we stopped. Honestly, who knew it was going to be such a hit? I’ve loved every moment of being a part of ‘Come from Away’ and telling that story. I realize how deep of a void it has left when we weren’t able to continue on with the show. What have you been doing to keep yourself busy during this time? Well, that’s a great question. There has been a lot of things going on. At the beginning of all this, I actually was having a pretty nice time. I caught up on things I haven’t had time to do because being at the theatre eight times a week is grueling, demanding. You have to be responsible. When we had this big intermission and this big break, I thought to myself, ‘Hey, why not do some stuff that I’ve always wanted to do that I haven’t had time to do.” So I actually learned how to cook a little bit which is something I’ve never learned how to do. I can make a mean coconut cream pie now. I’ve made a great pasta sauce and chili to name a few things. I also re-decorated my apartment. I decluttered my entire place from head to toe. I took all the time in the world to go through every cupboard, every drawer, every closet, everything. One of the biggest things I’ve done is start this online talk show with the stage manager of ‘Come from Away’. Her name is Lisa Humber. And we started this online talk show called ‘Check In from Away’ where every week, every Tuesday, a new episode comes out on the Mirvish You Tube Channel. We interview different artists, people who work backstage about what they’ve been doing during the pandemic, other shows they’ve worked on at Mirvish, their favourite memories, what they miss the most about theatre, stuff like that. I have to tell you it was a saving grace for me to remain creative in some kind of way and also to connect with people whom I’ve met and there are some whom I haven’t met which was really cool. This has been my biggest project. We’ve released 17 episodes so far, so it’s been keeping us busy, but I’ve been grateful for it. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? Ooooo, this is a tough one…I’ll start with the theatre grads… I feel so bad for the theatre grads because it must be so anti-climactic to graduate school and to literally walk out into a global pandemic and not be able to do what you love the most. I can’t even imagine. I’ve been so lucky to be able to do this for many years and the void that I’m feeling in all this is huge. Words of wisdom? Honestly, just try to stay sane, and try not to drink too much. I realize there’s not a lot to do some days, but we do have to keep our wits about us a little bit and whatever that means to you, keep connected to others around you, how difficult or annoying it might be over technology. And stay creative in some way. Find a little project, something to read, honestly anything to keep your mind exercised. It’s been difficult to keep the acting and singing chops alive if you’re not performing and can’t be on stage. Do you see anything positive stemming from Covid 19? Yes. I think a lot of things, actually. I think the world right now is literally and figuratively on fire. I feel this is an amazing opportunity with the social movements, the racial movements that really good things will come out of this. Since there has been so much time at home, we’ve had time to think and a lot of discoveries have been made that didn’t have the space to happen when everybody was in a ‘busy body’ kind of world, always hustling and moving. When you take away all that ‘busyness’, you realize what things are really important, and I know that’s happened to me. This pause in the world was also good for me for people to do a lot of self discovery of the world, other people. We’re learning to understand each other and I think things will be better at the end of the day when we come out of this and hopefully no more casualties. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? I feel optimistic that people will be creative and find ways. This is what I hope, my dream and hope is that people will want to connect with the performing arts even more than they did before. After sitting home and finishing Netflix, I’m sure everyone is going to want to see a live performance or a musician playing or a concert, or a musical or a play. I’m just going to leave it at that because there’s no point in focusing on the negative as I’m an optimist. There’s plenty of negativity going around. 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 a very interesting debate you just mentioned about some artists doing whatever it takes and those who say they will wait until they return to the theatre safely. Honestly, I’m all for whatever makes people feel happy, comfortable and creative. So if an artist wants to stream their work, that’s amazing to give people an opportunity who may not have that opportunity or the funds to go see a show, or a concert or a musical to access their stuff online. I think that’s incredible. I will say the only thing that sucks about Covid is theatre is all about live audiences and feeding off reactions and hearing laughter and tears. I find that’s the thing that suffers the most with streaming. Unfortunately, streaming doesn’t give you that instantaneous rapport and relationship with the audience. That’s a shame and that’s what I miss about theatre so much. Film and tv are fine but you don’t get the instant gratification that you get when you perform live. To be compensated properly for an artist’s work is an interesting debate I can see why this would divide people. If you’re volunteering your talents and feel comfortable and happy with that, I think you need to follow your gut and your intuition. If you want to share something and have a story to tell, by all means do it. Obviously, compensation is nice when it happens, but I think that’s a case by case decision basis. It depends on the project, the artist and what’s at stake. I can’t put a label on it either way because there are different outcomes of some of these projects. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Covid will never ever destroy my undying musical theatre nerd love for all things theatre. I’m a huge musical theatre nerd, I’m a theatre nerd. Nothing will ever replace the feelings that I have felt sitting in an audience with a programme in hand waiting for the production to begin, hearing the orchestra tune, seeing the performers enter the stage. It’s really un replicated. You can replicate that feeling anywhere else, just the feeling of the lights going down, a story beginning. For a couple of hours, you get to follow another story, forget any baggage you may have brought to the theatre, you can laugh, cry, whatever it makes you feel. It’s just solidified my undying love for theatre. Truly. I miss it so much every day. I will never ever take it for granted ever again. The moment I will have the chance to walk into the Royal Alexandra once again to tell the story of ‘Come from Away’, I will weep tears of joy and relief and sadness. I’m just going to be the happiest girl when that happens. You can follow Steffi on Twitter: SteffiD3 Myspace.com/SteffiDBowPower Previous Next

A talk with a professional artist about their career. Back Quincy Armourer Self Isolated Artist La Presse, Montréal Joe Szekeres When I was in Montreal the last couple of years to review shows, I remember seeing Black Theatre Workshop’s (BTW) name on several posters around the city announcing upcoming productions. I had reviewed ‘Angelique’ at Toronto’s Factory Theatre, presented by Factory and Obsidian Theatre Company (in co-production with BTW and Tableau D’Hote Theatre), and I wanted to learn more about these two Montreal based theatre companies. I was so pleased that, when I reached out to both companies, they have responded back in kind and have welcomed the opportunity to share their story of ‘The Self-Isolated Artist’ in their company. Tableau D’Hote Theatre Company’s profile will appear shortly. Artistic Director of BTW, Quincy Armorer, and I conducted our interview via email. Quincy was to have appeared in August Wilson’s ‘Fences’ at The Centaur before the lock down. The On Stage Blog reviewers were really looking forward to the production as all of us wanted to attend, but only one of us would be able to review. That’s a nice feeling when you have reviewers who really want to see something. Thank you, Quincy, for this interview. I certainly hope that Our Theatre Voice can be of service to BTW in future: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? My family is doing well, thanks. It’s been difficult to spend so much time away from them, but luckily everyone is healthy and doing fine. It’s been hills and valleys for me, I think. When the quarantine began and we didn’t quite realize how long it would last, I tried to give myself a bit of down time. And at first, I didn’t mind the shift to working from home. Now that we’re at three months with no clear end in sight, it feels very different. Also, the recent incidents of anti-Black racism that have sparked outrage across the world in the past couple of weeks have made being stuck in isolation especially hard. 2. Were any productions in rehearsal for BTW at the time of the lockdown? Were they far from premiering? Will these productions become part of any future slate(s) for BTW? Just as the lock down made its way to Montreal, we were about to present one show and begin rehearsals on another. We were bringing in the Toronto production of ‘Obaaberima’ produced by Buddies in Bad Times Theatre, to present it with our partners Espace Libre in English with French surtitles, but it was quickly cancelled. This was the second time that we were working with Espace Libre to bring in a Buddies show (the first was ‘Black Boys’ back in 2018) and its a great collaboration between our three companies to bring Black queer content to Montreal that is accessible to both anglophone and francophone audiences. We are definitely planning to find time in a future season for ‘Obaaberima’. Our other project was a co-production of August Wilson’s ‘Fences’ with Centaur Theatre. We were just a week away from beginning rehearsals and, not yet fully understanding the extent of Covid-19, thought that we could save the show by simply delaying production for a month. Well, that plan wasn’t going to work either, so Centaur Theatre’s Artistic Director Eda Holmes and I made the decision to postpone the show indefinitely. We are both fully committed to seeing the project through, and as soon as we can safely and responsibly make it happen, we absolutely will. 3. What has been the most challenging part of the isolation and quarantine for you personally and professionally? Personally, I miss my family. And I miss hugs. I really do. But I think what has been most challenging for me is also what has been the most rewarding. I’ve been very introspective lately and it’s stirred up a lot of thoughts and emotions within in a very real and profound way. It hasn’t been easy, but it’s been very enlightening and I’m grateful for the opportunity to turn inward for awhile in a way that I normally don’t. I’ve enjoyed that quite a bit. Professionally, there are a number of things. One of the hardest parts has been the uncertainty of knowing what if anything we will be able to present next season. It’s a milestone year for us – our 50th anniversary – and we’ve been planning it for some time, so this limbo that we’ve been forced into right now is certainly a challenge for us. I also want our artists to feel safe and confident and for them to know whether or not – or at least when – the projects they have been preparing for and looking forward to will happen. There’s also been the challenge of potentially shifting ‘online’ and deciding how much content to offer and what that content should be. But most importantly, our Black communities need support right now. We have to ensure that we are properly providing for them, listening to them and creating space for them, which is made that much more difficult by quarantine and isolation. I’d give anything to be able to open up our doors and invite everyone in and create a safe space for us to talk, share, vent, cry, support, hug – whatever we need. We can’t do it in person right now, so we’ll do what we can from a distance. 4. What have you been doing to keep yourself busy during this time of lock down? Working. Our office is closed, but our full staff has been working very hard from home since the middle of March. In many ways it feels like we are busier than we’ve ever been. Our 50th season was intended to be one of our most ambitious to date, although now we’re still not sure how much of that season we’ll actually be able to deliver. Preparing for our launch, exploring other artistic activities, as well as revisiting and revamping our seasons to come has kept me quite occupied. I also jumped on the bandwagon! My folks are from Trinidad, and in our family, mom is the cook and dad is the baker. I had to try my hand at my dad’s Coconut Bake, and I have to say it turned out pretty good! I now understand that place my dad disappears into whenever he gets his hands in dough. It’s meditative. I like it. It’s been a welcome escape. 5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? What words of advice would you give to the new graduates emerging from the National Theatre School? Make lemonade! We have to work with what we’ve got, so when the world gives you lemons, that’s what you do. There’s no denying that this is the world we are now living in. What we have to do is find the opportunities hidden behind the obstacles. The work is still the work and the craft is still the craft. That won’t change. Keep working on what you can, when you can. We’re on hiatus. Be ready when hiatus is over. 6. Do you see anything positive coming out of this pandemic? I hope people come away from this with a greater appreciation for art in general and live performance in particular. When the lockdown began, everyone was turning to art and artists entertainment and humour and comfort and connection. We needed it. I think a lot of people didn’t realize just how important it is in their lives until they no longer had access to it. I’d love to know that in certain circles, the value of what we do now requires less explanation. But beyond that, I just want all of us to be kinder to each other. None of us is exempt from this pandemic, and it would be unfortunate if something this global, something this devastating but potentially unifying would find more ways of dividing us rather than bringing us together. What a shame that would be. 7. Do you believe or can you see if the Quebec and Canadian performing arts scene will somehow be changed or impacted as a result of COVID – 19? It already has. I can’t imagine that there wouldn’t be significant impact. Covid-19 has changed how we interact as a species. Our relationship to proximity and touch and intimacy isn’t what it was three months ago, and it won’t just disappear once we’re allowed to gather again at the theatre. Audiences are going to be receiving what they see on stage through a post-covid lens. Creators and producers can’t help but be affected by our current reality either. We have to embrace it. What are the stories that our audiences will want to see? What, if anything, do we need to do differently to tell them? It’s not a question of ‘will it change’ but rather ‘how will it change’. 8. Many artists are turning to streaming/online performances to showcase/highlight/share their work. What are your thoughts and comments about this? Are there any advantages or disadvantages? Will streaming/online/ You Tube performances be part of a ‘new normal’ for the live theatre/performing arts scene? It seems like there was a mad rush for many companies to begin producing online content to stay connected to their audience, and some fared better than others. I don’t think there should be a blanket rule because it’s not going to work for everyone. Some companies have more resources available to them and can create high-quality content in little time. Others just simply don’t have the means. I think some of the work that has been put out there is a nice complement to what we do, but there’s no substitute for the shared experience of being in the same space together. You can’t replace that. That being said, streaming and online performances allow companies to reach a much broader audience. We have our Artist Mentorship Program at BTW that culminates each year with a live Industry Showcase in May, which this year we had to cancel. Instead, we created an online showcase which has allowed us to share the work of our emerging artists with potential engagers not only in Montreal but across the country. It’s a new initiative that we hope to make a permanent addition to the program. 9. As Artistic Director, where do you see the future of Black Theatre Workshop headed as a result of this life changing event for all of us? Our approaching milestone anniversary has been a time of deep reflection for us. It’s made us look back on all that we’ve accomplished over the past fifty years, but also on what we want the next fifty years to be. BTW has had to fight against systemic anti-Black racism for decades, and, over the years, we have built a profound legacy of maintaining our relevance in a world and industry that are ever revolving around us. That certainly is the case now. I want us to continue amplifying Black voices and telling our stories because, let’s face it, the current state of the world right now is showing us that we need these stories now more than ever. There are multiple voices, diverse voices, still under-represented voices within the Diaspora, and BTW will be a place where they can all be given a platform. We will continue to be an example of the open door that we ourselves have been seeking. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: 1. What is your favourite word? Kind 2. What is your least favourite word? Bland 3. What turns you on? Sincerity 4. What turns you off? Crowds 5. What sound or noise do you love? Crashing waves 6. What sound or noise bothers you? Construction 7. What is your favourite curse word? Fuck 8. What profession, other than your own, would you have liked to attempt? Grade schoolteacher. 9. What profession would you not like to do? Medical examiner (despite my name) 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? ‘What’s up, Girl?” To learn more about Black Theatre Workshop (BTW), visit their website: www.blacktheatreworkshop.ca . You can also visit their Facebook page: Black Theatre Workshop Twitter: @TheatreBTW Instagram: @theatrebtw Previous Next

A talk with a professional artist about their career. Back Steven Elliott Jackson Looking Ahead Provided by Steven Elliott Jackson Joe Szekeres In the Covid summer of 2020, I had the opportunity to watch my first online Fringe production where I was introduced to the world of playwright Steven Elliott Jackson and his fascinating historical audio drama: ‘Sarah/Frank’. Summer 2021’s online Fringe production of his play ‘The Laughter’ featured Kate McArthur and Brandon Knox who played respectively TWO of entertainment’s biggest names in the biz, as they say – Lucille Ball and Lou Costello. What’s that adage? Three times a charm? Well, I’m certainly hoping so when I heard Steven’s latest play ‘Three Ordinary Men’ produced by Cahoots Theatre will be staged at Toronto’s The Theatre Centre in June. Steven had participated via email in an earlier Profile Pandemic series I compiled back in 2020. When I had heard about ‘Three Ordinary Men’, I wanted to speak to him again because the plot intrigued me a lot especially considering so much societal change in the last two years. More about the plot of ‘Three Ordinary Men’ shortly. And what a life Jackson’s leading right now. First off, he’s one of the jurors in the General Category for this year’s Dora Mavor Moore Awards. Wow! That would be another personal bucket wish list item for me. Steven then shared some rather humorous personal anecdotes about his involvement with the Doras which had me in fits of laughter. One thing he did say about his involvement as Juror: “I’m tougher when it comes to the General category as you really have to impress me.” Regarding the re-emergence of life in the theatre, Steven says he hasn’t been less creative because he writes A LOT. Sometimes he can come back with a play four days later. During Covid, he moved to Kitchener. He then shared another humorous moment where he heard of some writers who were uncertain and didn’t know how to proceed during this time. Steven’s response is brief, curt and to the point, but he says it best: “You’re a writer, you write. You find a way to work through it and you do it. Move on.” Covid changed things for him as Steven moved on. The theatre industry in his words: “went over to one side”. He recognizes it’s going to take some time to find stability and be realistic in the Toronto theatre scene again but followed his own advice during the pandemic and kept busy with projects. If he doesn’t have a project to work on, Steven will find one whether it be play readings or preparing for summer Fringe shows. Jackson stated how he and Cahoots’ Artistic Director, Tanisha Taitt, (who is scheduled to direct ‘Three Ordinary Men’) have a great relationship. How did the two of them meet? Tanisha was on the jury for the new play contest as part of Fringe when Steven had submitted his script ‘The Seat Next to the King’. She had picked this play as number one for her. Right after the contest, she kept thinking about the play as she loved it so much and wanted to direct it, even though she had no intention of directing a Fringe play ever again. But she did direct ‘Seat’ and, with fondness, Steven recalls how the two of them developed such a positive and healthy director/playwright relationship during the rehearsal process as he quotes: “We both get each other”. They were honest with each other; they were able to take critique from each other; they had to listen to each other and realize they may not be able to get what they want, but that was alright with him. It was during rehearsals for ‘Seat’ that Jackson recalled doing some research about ‘Three Ordinary Men’. He recalled being blown away by his research and says this story of the three civil rights activists who were murdered became even more relevant after the tragedy of the killing of George Floyd. Going forward, ‘Men’ seems to be more and more relevant for Jackson as it is a necessary story we need to see and to hear in how we bring forth social issues. He felt it and ‘The Laughter’ were both organic as their different plots are “one of coming together and connection to others who are not from the same world but must come together and do something.” That’s what Jackson likes about the theatre industry. What excites him the most about this return to live theatre (but still in Covid) is the connection and the thrill with what’s happening on stage and you forget about distractions around you. He compared the experience of being at the theatre as meditative because you become absorbed with what is playing in front of you. Steven loves plays about people dealing with stuff onstage. He loves opposites and controversial figures. He loves when audiences say about a character: “I hate you, but I understand where you’re coming from.” What fascinated Jackson when he started to write ‘Three Ordinary Men’? Everything he read mostly relayed to what happened after the murders of these three individuals and not who the people were. Yes, these events were shocking, but Steven says he wanted to know more about who these men were and what made them want to change the world in the way they were doing it. This was more fascinating to write which in turn led to uplifting messages in the script. However, Steven’s not sure if we have that same kind of energy now that these characters exude in the play. That’s something of which audiences will have to be aware as opening night approaches. It took five days to write ‘Three Ordinary Men’, a scene per night, but the last scene took the longest to complete as it was really hard. Jackson recalled writing the play at the Toronto Reference Library and tears welling in his eyes as he was typing away the last scene on his I Pad because it was so difficult as it was such a tragic ending to these men’s lives. Steven stated he was a tad naïve a bit because he didn’t realize just how strong, powerful and personal this story of the three civil right activists was for Tanisha. She is so eloquent herself, and Jackson values and respects that about Tanisha. While she’s passionate about what she believes, Tanisha can also see the sides in the story. Again, he recalled how she read the first stage direction and then called Steven saying: “You wrote a play about them; you wrote a play about them.” To which Steven simply said: “Yes, it’s the last day of their lives. That’s what the play is, and not knowing that you’re going to die.” The two of them had quite a profound moment talking about these men, the tragedy in the loss of their lives and the script itself. Steven then entered ‘Three Ordinary Men’ in the Hamilton Play Contest. He once told an aspiring playwright that if he couldn’t handle rejection in writing plays probably 95% of the time, then walk away right now. Steven followed that same advice regarding ‘Men’. He submitted it and waited to see what would happen because people will either take the play or not take it. And then he and I shared a good laugh about reviews of plays and decided that would be discussion for another evening. ‘Three Ordinary Men’ won the New Play Contest in Hamilton. Although he believes he writes a lot of American stuff, the story transcends the border. Then Covid happened and he was approached to stage ‘Men’ digitally which was a definite No for Steven at that time. He and Tanisha had no idea if theatres would be open and then considered perhaps a digital show might be possible, but ‘Men’ deserves to be seen live. It may be filmed in the future, but that’s not up for discussion right now. There was also discussion if the play would reflect Cahoots’ mandate when Tanisha assumed leadership of the company three months before the pandemic hit. Steven said his feelings would not be hurt if Tanisha felt the script could not be performed at this time. Again, Jackson spoke of the respect the two of them have for each other in not pushing each other. ‘Three Ordinary Men’ had a first reading a few weeks ago and Steven said it was glorious to hear the words read aloud. Hearing the ending crushed all of them at that first reading as Jackson didn’t believe there could be that much silence on a Zoom camera. What’s next post ‘Three Ordinary Men’? He goes right into Fringe with two shows. The first ‘The Garden of Alla’ is the story of silent film star Alla Nazimova in the 1920s and the making of ‘Salome’ and what happens to Alla, her husband and her lover. Steven calls the play a glorious time of sexual freedom that was happening before the world of censors and scandal robbed us of it. For him, there are some gloriously very different queer lives coming together and having the freedom to be who they were, not necessarily on the screen. The second ‘The Prince’s Big Adventurer’ is a kid’s show Steven wrote years ago that he has wanted to do for so long. It’s a story of a prince who is forced by his dad to rescue a princess from a tower. His dad knows his son is not good at this sort of thing, so the father hires an adventurer from the town and chaos ensues. Steven calls this one “A Gay Fairy Tale”. ‘Three Ordinary Men’ opens June 14 and runs to June 26 in The Incubator at The Theatre Centre, 1115 Queen Street West. To purchase tickets: https://theatrecentre.org/event/three-ordinary-men/ To learn more about Steven, visit his webpage: https://www.stevenelliottjackson.ca/ Previous Next

A talk with a professional artist about their career. 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

A talk with a professional artist about their career. Back Monique Lund Moving Forward Colton Curtis Joe Szekeres Toronto, Ontario, in the late 80s and early 90s saw a slew of first run, first-rate productions with some featuring an all Canadian cast. I liked to get to the theatre early so I could read the artist biographies in the programme to learn more about these talented individuals. One of those names I remember is Monique Lund. She appeared in an amazing production of ‘The Who’s Tommy’ and ‘Cats’ during these years. Again, since I began reviewing, I’ve seen her name in many Stratford Festival productions. She is indeed a talented lady. Monique received her early training on Prince Edward Island and started as a dancer there and moved to Montreal after high school to train with Les Ballets Jazz de Montreal on a full scholarship. She also studied voice at McGill University and acting in Montreal and Toronto before getting hired as a company member in ‘Cats’. The rest is history as they say! She has performed in eleven seasons at Stratford and hit the 90s jackpot doing musicals in Toronto during these golden years while appearing in ‘Cats’, ‘Crazy For You’, ‘Tommy’, ‘Joseph and the Amazing Technicolor Dreamcoat’ (with Donny Osmond), ‘Mamma Mia’ and ‘Lord of the Rings’. Monique has played the role of Donna Sheridan in ‘Mamma Mia’ in the US for two years as well as having played many leads from Vancouver to Halifax. Thank you, Monique, for participating: 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? Yes, I suppose EVERYTHING has changed in terms of our daily lives. My daughter is 15 and when March Break came and it was announced that the kids would be off for three weeks, that seemed implausible... impossible. And then when someone speculated that the kids wouldn’t be going back at all I couldn’t fathom it. But that’s what happened. And we adapted. I think we actually are a very adaptable species. I try to remember that. In terms of our lives now, I actually feel very lucky to be living in a small town. There aren’t reems of people around and it’s easy to see friends in the park or on a walk around the river. It’s easy to social distance when you have vast space around you. Sometimes I forget that we’re in the middle of a global pandemic and then I go to the grocery store and see everyone in masks and it’s sort of sci fi- esque. But like I said earlier, we adapt. People seem accustomed to it now. I know that masks will continue to be a part of our lives for a very long time and that’s as it should be. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? I did have several contracts that I was supposed to do in 2020 that were cancelled. It really is very sobering to watch your entire year go up in smoke. I feel there was a real tsunami effect..... spring contracts were cancelled which we all expected, then the summer ones evaporated, and the final blow was Christmas contracts being cancelled. I think our community went into mourning. It was shocking. Our employment is precarious at the best of times so to have this happen was incredibly difficult. And I do musicals, so the two things that are banned (and will be for the foreseeable future) are mass indoor gatherings and singing. PERFECT!!! 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? I would say the most difficult moment was not being able to see my family. We’re quite spread out across the country and we always get together on PEI every summer for a reunion. Just knowing that was off the table really made me sad. I miss my parents and my sisters But having said that I feel so lucky that I live with people. My husband and daughter have literally saved my bacon throughout this. I have thought repeatedly of my single friends who have had to socially isolate AND lose their livelihood at the same time. Devastating. We really tried to make the best of it and look at the positives. Being home together, cooking, watching movies and living simply. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? I have been extremely busy during lockdown. The first month or so I would say I was a bit aimless. I tried not to judge myself for it. Everyone reacted in their own way. But then I had a bit of a reckoning with myself. I had always had these other ventures that were of interest to me. But I’d never had the time to explore them. The upside of being employed pretty regularly in the theatre is that I never really had to do anything else. But suddenly I was faced with a blank page. So I started working toward launching my own jewelry line. I launched about six weeks ago and it’s been successful beyond my wildest dreams. It’s a creative outlet just like theatre is and I realized that that’s a vital and essential component to my innate happiness. I am also studying to become a personal trainer and nutrition coach. My dream is to have my own fitness company in Stratford, Ontario, that caters to women in the prime of their lives (45 +) It’s an incredibly detailed course of study and I’m finding it challenging and wonderful. I want to inspire women to feel great about themselves. At a certain age, haven’t we earned that?? I’m also involved with an incredible theatre company in town called Here for Now Theatre. The artistic producer, Fiona Mongillo, really has made an incredible thing happen. As the situation was unfolding with the pandemic and it became apparent that all contracts would be cancelled, she set to work to find a creative solution in taking advantage of what we COULD do. And that was to do outdoor theatre. She wanted a troubadour experience in which we’re light on our feet and can adapt to the ever-changing situation. So, we’re in the middle of an outdoor theatre festival at the Bruce Hotel in Stratford. We’re doing live theatre! It’s been an incredible experience. My husband Mark Weatherley wrote two of the plays (“Whack! “and “Infinite Possibilities”) and I came on board as a director. It’s been an incredible experience. The audiences are so appreciative. They’re starving for that live experience. We’re doing everything by the book including physically distancing the chairs, sterilizing them between seatings and limiting the numbers. Again, we adapt! The Festival has been so successful that we’ve been extended. So, for me, the pandemic has given me a bit of a kick in the pants to venture into new territory. I think it’s interesting how things have unfolded for me. I guess without the safety net of relying on doing musicals (and I use the term “safety net” very loosely!!) I sort of allowed myself to dream a little and act upon those dreams. I feel extraordinarily lucky. 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 terms of advice for other performing artists right now, I would say be bold and just leap into that unknown. I mean we’re already living in an incredibly uncertain time so maybe now is the time to develop that new skill, to take that course, to try something new. I think as artists we all need that side hustle more than ever. As my husband wrote in his play “When nothing is certain, anything is possible!” I actually really believe that. And for the young’ uns coming up, I would say try to be as well rounded as possible. Develop those skills and passions and hobbies outside of theatre. Hopefully, it will translate into some income so you’re not solely reliant on theatre to pay the bills. I think it can only help you as an artist too! But also we now have the gift of time! So read those books, learn those new songs, have play readings in the park with your friends, phone up an older artist that you’ve always admired, and ask if you can pick their brain. Get creative! There are opportunities to be had if you so choose. But I also feel that to be too focused on our careers can limit and inhibit the scope and breadth we’re capable of as humans. I really feel that it’s important to look at this as an opportunity for growth. The alternative is to view it solely as a negative phenomenon which I think is not terribly helpful. But let’s face it, it’s HARD. I think it’s absolutely ok to go under the covers and cry it out. Just don’t stay there too long! Do you see anything positive stemming from this pandemic? The positives I see are families connecting more, people having more time to just be, people getting back to baking and cooking, people helping each other. If only the financial repercussions for artists were not so dire, I think we’d be happier. It’s really hard to be blissed out when you’re worried about money. It’s a very real quandary. But as I said before, it’s really interesting to see the creative ways people are forging new paths for themselves. But also a lot of brilliant artists are working jobs that they’re not particularly enjoying. It’s tough. But we’re a tough bunch! In your informed opinion, will the Canadian, Broadway, and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? Man, if only I had a crystal ball! I have no idea. I try not to speculate too much because the information keeps changing and none of us have a clue what’s going to happen. All I know is that when I think about assembling together with a big cast for the first day of rehearsal it literally brings tears to my eyes. The joy I have felt over the years working with people in the theatre will stay with me forever. And I am by nature an optimist, so I have to believe we’ll get back there. 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? In terms of live streaming, I think it absolutely will be a huge part of our industry moving forward. For me personally, I haven’t done anything, but I’ve certainly watched some content. But you know, I have come to a personal conclusion with it. I would rather watch the opening number of Ragtime at the Tony Awards for example with that huge cast brilliantly staged than something on Zoom. I find I’m looking to the past to get that fix. Watching throngs of performers interacting with each other with joy and abandon and physical proximity thrills me more than anything right now. But I certainly don’t judge those who are pursuing the online avenue!! It actually drives me crazy when we become divisive as artists. We must support each other right now more than ever! To each his own! Live and let live! And of course, if anyone did ask me to do a Zoom performance thing I’d be all over it. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? Wow. So, this question has brought me to my knees. I have been a professional stage artist for over 35 years. I have had so many incredible opportunities and have met the most brilliant, funny, kind, compassionate, and exceptional people. I have sung exquisite songs, I have tap-danced on pianos, worn exquisite costumes, witnessed the most vulnerable moments, laughed, cried, bled, despaired, rejoiced, and felt everything in between. My life has been incredibly rich and varied and interesting for having done it. I can’t fathom myself ever giving it up and so, I never will. It’s given me too much joy and happiness and laughter. 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? Tolerance b. What is your least favourite word? Closed c. What turns you on? Creativity d. What turns you off? Materialism e. What sound or noise do you love? Cardinals f. What sound or noise bothers you? Dentist drill g. What is your favourite curse word? Zounds h. What profession, other than your own, would you have liked to attempt? Pilot i. What profession would you not like to do? Mortician j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Red or white? Thanks.” To learn more about Monique's jewelry line, visit https://www.etsy.com/ca/shop/minniebymoniquelund Previous Next

A talk with a professional artist about their career. Back Jeannette Lajeunesse Zingg Choreographer and Co-Artistic Director of Toronto's Opera Atelier Courtesy of Toronto's Opera Atelier Joe Szekeres What a delightful chat I had recently with Choreographer and Co-Artistic Director of Toronto’s Opera Atelier, Jeannette Lajeunesse Zingg. Last year I had the opportunity to interview her husband, partner, Director, and the other Co-Artistic Director Marshall Pynkoski. The two of them were delightfully charming and engaging, and I could tell they were both very keen on having not only me but also many new audience members attend the opera this coming year. Many Torontonians who attend the opera call Marshall and Jeannette ‘royalty’. I now understand why. Jeannette is gracious, open, and articulate. Her passion and dedication to the opera and ballet were strongly evident during our conversation. The theme for this year’s Opera Atelier season is ‘Passion Returns’ which is an appropriate one. It is the company’s passion for returning to the theatre through productions of ‘Dido and Aeneas’, a passionate love story and ‘The Resurrection’, the story of the Passion of Christ. I began our conversation and asked her how she felt about being called Toronto’s ‘opera royalty’: “Well, we’re very flattered, to begin with. We have dedicated our lives to Baroque Opera, French Baroque in particular, and we will continue to bring Baroque Opera to Toronto and worldwide.” Like all the artists who have been asked this same question about the gradual return to the performing arts given the unknown about Covid, Jeannette did point out one thing clearly that I respected: “The media is not our best friend when it comes to things like that for sure.” However, Jeannette remains quite optimistic going forward. The subscription goal was modest but Opera Atelier had reached it. Now the company is selling single tickets. Opera Atelier has done quite a bit of reaching out to newer markets. For example, at the beginning of our conversation, Marshall also appeared on camera to say hello for a few moments before he dashed off to students from Catholic schools who were attending workshops today. Jeannette would join him once our conversation had concluded. The workshop involved some demonstrations and a very brief background on how dancing fits into Baroque Opera. Then to top it off, the workshop concluded with students getting up to dance the minuet. Jeannette was pleased there was full and active participation from these Grade 6-8 students who asked very intelligent questions along with active participation in the dance and who are eager to learn since the pandemic cut down on this type of experiential learning over the last two-plus years. What a terrific way to get twenty-first-century youth interested and involved in the world of opera where they can experience things up close first and ask questions about the art form and receive an immediate response in a small group. Jeannette also spoke of the work Opera Atelier does in Europe quite frequently. Productions there sold out and masks are optional and rarely worn. She recognized that North America is always a bit behind but will follow suit. Going forward, we must ensure people are not so frightened when they attend a live theatre production of any kind, especially older people. Yes, this fear does come from the media, but Lajeunesse Zingg confirms we have to start somewhere getting back, and this appears to be the first logical step going forward. Once again, she remains optimistic people will want to come for a good show, and there is no need to be fearful as we return. What a marvellous choice Opera Atelier has made in selecting ‘Dido and Aeneas’. The story itself is from Books 1-4 of Virgil’s ‘The Aeneid’. Dido, the Queen of Carthage, has been widowed and has sworn never to marry again. Aeneas has been fleeing his burning city of Troy with a group of men and lands there and he thinks perhaps it’s his destiny to re-found Troy. Dido’s courtiers are pushing her to marry Aeneas because he has fallen in love with her and she is with him. The courtiers feel it will strengthen their kingdom which at the moment is a little unstable after having lost her husband, the King. Of course, it is not Aeneas’s destiny as his destiny is to found Rome, but he doesn’t know that. The destiny is put into the form of witches who want to undo Dido in this particular telling of the story, so they trick Aeneas into thinking that Mercury, the messenger of the Gods, is telling him he has to move on after he has already committed himself to Dido. Aeneas comes to tell Dido he has to leave, and she is appalled and very angry. Aeneas says he will change his mind to defy the gods, but Dido says it’s too late and he has to go as she has been spurned and humiliated. Aeneas leaves and his men are happy to leave and get back out on the sea and find a new place. There’s a lot of dancing as the men are happy to return to the sea. Dido feels she has been so humiliated that she feels she has to take her own life. There is that very famous aria at the end of ‘Dido’s Remorse’ that many great opera singers have as part of their repertoire. And what is it about the beautiful art of opera and ballet that still fascinates and intrigues Jeannette: “I can’t imagine not being intrigued. It’s part of our identity and who we are. We live with culture and culture is part of life and opera has so much to offer in culture, music, acting, dance, sets, and costumes. It’s part of worldwide culture and it’s something that we want to have as part of our lives. It’s intriguing because there’s something new to find, always some new ideas to get from these older pieces from a different era where the thought processes were different from our [twenty-first century].” She still affirms the artists and the company still has so much to learn from these pieces. Even though Opera Atelier holds a huge repertoire, the artists will never be finished delving deeper into them ceaselessly. During the pandemic, OA did switch to film and there was a commission of one piece so the learning and growing are continuous. For some reason, there appears to be this misunderstanding that if one doesn’t have an extensive background or education in the study of opera and ballet, then it’s not worthwhile attending. Lajeunesse Zingg firmly disagrees. One doesn’t need to have any background to enjoy and appreciate Baroque Opera. It’s lively, it’s dramatic, the music is beautiful, and the costumes are beautiful. Baroque Opera is a feeling on every level. Why is it important for all audiences to attend, and that includes those who would like to attend but might be a tad reluctant: “It’s a big part of our culture”, explains Jeannette. “Culture and art are the highest point of humanity that we can achieve. Everybody should be able to be a part of that.” ‘Dido and Aeneas’ opens on October 20 and 22 at 7:30 pm and the final performance and October 23 at 2:30 pm at Toronto’s Elgin Theatre, 189 Yonge Street. The performance running time is one hour. To learn more about Toronto’s Opera Atelier, visit operaatelier.com. Previous Next

A talk with a professional artist about their career. Back Andrea Rankin Theatre Conversation in a Covid World Mat Simpson Joe Szekeres Artist Andrea Rankin has quite the impressive list of resume credentials on her website. I had the opportunity to see her work at The Stratford Festival in ‘Mother’s Daughter’ and ‘The Crucible’, and her other credits in theatre, film and television are varied in range. Her training and educational background are solid. She is billed on her personal website as a multidisciplinary Canadian artist with a passion for live performance and equitable spaces. Andrea is an actor, singer, musician, and songwriter born in Amiskwaciwâskahikan on Treaty 6 Territory (Edmonton, Alberta). Thankfully there is a section on the website where I can listen to some of her songs. In a couple of months, we will be coming up on one year where the doors of live theatre have been shuttered. How have you been faring during this time? Your immediate family? I am healthy, I have enough food and a safe and comfortable place to live - so I am doing alright, despite everything. Thankfully my family is safe and healthy too. Some days I feel hopeful and able to appreciate my surroundings and the present moment, some days are difficult and full of grief and I find myself needing to sit or lie down. I’m getting more used to the ebbs and flows and to trying to accept instead of resisting the emotions that come up; I think this will be a life-long practice. How have you been spending your time since the theatre industry has been locked up tight as a drum? At first, after the 2020 Stratford season was cancelled, I poured my energy into what you might call the ‘domestic arts’. Before the lockdown, I had just closed a nearly-year-long run of “Mother’s Daughter” by Kate Hennig at Stratford/Soulpepper and had started rehearsals to play Ophelia in “Hamlet” and Hero in “Much Ado About Nothing” at the Stratford Festival. I was spending my days in rehearsal halls with passionate artists and spending my evenings continuing to work. My last rehearsal was a Saturday afternoon and then I received a note on Monday morning not to come into work. Stopping suddenly felt like whiplash at first. There was a period of waiting to know how long this would go on that has never really ended. For comfort, I became very invested in my sourdough starters (Peg and Diane, respectively) and in trying to bake a perfect loaf of bread. I started cooking new things and testing out long, detailed recipes. I started writing every morning, as a place to put my thoughts. I felt no other creative impulses for a long time and frankly, tried not to think about anything artistic. To deal with the anxiety I took up running. To stay hopeful, I tried to hold onto what I did have available to me: the outdoors. I spent time walking, running, having bonfires, at the beach, camping, hiking; I did whatever I could to be outside at all times. Near the end of the summer, my partner and I drove across the country and camped our way to Alberta to have distance visits with family and friends. That was a highlight. In the fall my creative energy came back and I decided to embrace another artistic passion of mine: music. I’m a trained classical singer and pianist, and the journey to discover my own style has been a satisfying one. In November 2020, I decided to release my first EP of alt-pop music, called Tides. It’s given me a lot of purpose and meaning and I’ve learned a lot about the music industry in Canada. I’ve also started writing in other ways – meeting weekly with friends to work on script ideas. I don’t know what will become of them, but the act of meeting and writing together has been deeply satisfying. I also started teaching voice and acting lessons online over Zoom and now I teach students from across the country every week. I’ve still been auditioning here and there for film and television, but I’ve certainly channeled my creative energies into music. Luckily, it’s an art that I can still do from the confines of my living room. 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? At times it’s felt like an escape from the relentless momentum of productivity and chasing notions of success, but in almost every other way, this has felt like the opposite of an escape. I think it’s a gift to have more time to pay attention to the world we’re living in. It has involved a new kind of listening and feeling anger and grief; and the grief I feel for all those suffering is immense. In my experience, it’s been a time to look at myself, my life, my community, my work and my participation in systems and structures and ask why. What stops me from listening? Why am I not fighting for change every day? It’s been a chance to listen deeply and a chance to educate myself. It has been a chance to let go of things and reimagine. In other ways, I’ve tried to look at this as an opportunity to discover parts of myself that are changing: interests I’ve neglected, relationships I’ve taken for granted. I’ve tried to think of my creativity as a daily experience, present everywhere in all things. I can find it when I cook, in choosing my outfit for the day, in the trees when I go for walks, in calling friends on the phone and listening without distraction. It has felt like a year-long exercise in mindfulness. I’ve really felt that when you can’t go backwards, and the future is unknown, the safest place to be is in the present. The more I’m able to be in the day I’m having and live slowly, the more I find I’m able to be okay, learn and listen. When I worry about what’s happened or what’s to come, I start to feel fear and anxiety. There has also been a great deal of time sitting with these feelings and trying to accept what I do have, what I can learn, who I am and who I could be. 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’m not sure how things will go. I often think about artists at home, grieving and breathing and I wonder what will come out of this for everyone. Who will have left the industry? Who will have studied something new? What art will be made and shared? We’ve experienced a collective trauma, and this takes time to heal. At times, I try to remind myself of how this is creating space for everyone to explore other parts of themselves, their other interests, skills and curiosities. I imagine watching strangers hug someday in the future and how joyful that will be. I imagine standing next to a stranger at a concert and sharing a sweaty moment of shared humanity and I think - I can wait. To keep people safe so that we can all share moments like this again: this is worth waiting for. Whenever it happens, it’s going to be spectacular. I had a discussion recently with an Equity actor who said that yes theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you in your understanding of the theatre and where it is headed in a post Covid world? As it’s ongoing - and in Ontario in a lockdown state similar to what we had in the spring of 2020 - I’m not sure how this has transformed me just yet. I know I will be a different artist. I know that my voice can be used for things I believe in and to protect the safety, creativity, and spirits of all artists in the room. I think I’ll be less desirous to please and more desirous to connect. I look forward to discovering how I’ve changed and how this time has changed me. 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 think the idea of ‘danger’ in the work is a difficult notion and worth expanding upon. The notion of artistic danger can sometimes be a privilege and used as a way to wield power over those without it. Speaking generally about 'danger' can mean that we’re not all having the same conversation. For some, danger in the rehearsal hall and in performance is very real: not being seen or heard, having a fellow artist look at you through a lens of racism, ableism, sexism, ageism, homophobia, body-shaming; people that believe you only deserve to be there if you play by their rules. As a community we’re waking up to these discoveries, but they have been the lived reality of many artists for a long time. If danger creates fear, then I disagree with Ms. Caldwell. Declan Donnellan speaks of this in his book “The Actor and Its Target.” He writes “No theatre work absorbs more energy than dealing with the effects of fear; and fear is, without a single exception, destructive. Fear makes it difficult to disagree. Fear creates as much false consensus as strife. A healthy working atmosphere, where we can risk and fail, is indispensable. Fear corrodes this trust, undermines our confidence and clots our work. And the rehearsal must feel safe so that the performance may seem dangerous.” In other words, a safe room creates dangerous work. I believe in this very much. On a personal level, in the characters I have played, I’ve been strangled, hanged, beaten, suicidal, died tragically, institutionalized, silenced and murdered in just about every play I’ve been in over the past decade; the canon for young women, especially in classical theatre, is rife with danger. If the process threatens the safety and autonomy of the artist, if they are not given a space to use their voice and there is inequality in who is allowed to express their experience and who isn’t – these things are not only detrimental to our art, but damaging to the brave and vulnerable individuals who choose to make theatre their craft. As far as danger in the time of Covid – absolutely. It is a wild and terrifying thing to experience a constant, invisible threat. I think the experience of this kind of danger will influence my work in reminding me not to take anything for granted. Our time on this planet is not guaranteed and that’s what makes it beautiful and worth paying attention to. It is a precious thing to have time in a room with people and I won’t ever take that for granted again. 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? It has. I’m still experiencing this, so it might be too early to describe how, but it has forced me to live more slowly and to pay more attention to the world around me. Thich Naht Hahn – a buddhist monk and writer whose work I admire and read often – talks about how the meaning of life can be found in the experience of wonder. When we experience wonder – with others, in the natural world, alone - we feel connected to something and this gives us meaning. I think this time has made me sensitive to wonder and to the world around me. This wonder isn’t always easeful; it can be wonder at the problems in the world, at people’s willingness to allow others to suffer. This time has made me ask why I am living the way I do, who I’m living for, what my values are. It’s asked me to sit with myself and offered a chance for me to make choices consciously. I will bring this all with me. There’s no going back. 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? It certainly has. I have been curious about what’s possible in my life and in my ability to help and support others. I have been curious about having hobbies! I have been curious about myself as a songwriter and musician, and I’ve had the chance to release music and explore this great love of mine. It has made me curious about political structures and inequality; cooking and baking; nature and the outdoors; what it means to be a good friend; how suffering is universal; where socks go when they get lost in the dryer; that we need to look out for one another; the power of a phone call, of a Christmas card; of the ebbs and flows. In some ways, while you’re busy making art you don’t always take the time to make your own life a work of art. This is a cheesy way of saying this but I think it’s sometimes true. The mundane, the boring, the ugly, the exhausting, the beautiful; these make up a life and are the very things I am so desirous to see on stage. I hope these reflections, observations and discoveries come with me whenever and however I return to this art form. Thank-you for the chance to reflect on this time in my life and to consider the answers to these questions. I’m grateful for the opportunity. To connect with Andrea, visit her personal webpage: www.andrearankin.ca . Twitter: @heyandrearankin Instagram: @andrealindsayrankin Previous Next

A talk with a professional artist about their career. Back Jonathan Wilson Moving Forward Joe Szekeres It was great fun to reconnect with Jonathan Wilson once again after I had profiled him over two years ago. If you wish to read the first time he and I spoke, please go here: www.ourtheatrevoice.com/items/jonathan-wilson We both agreed on how important it was to try to remain positive in the changes once again regarding Covid. Jonathan's doing all right these last two years and adds: “Life is good. You’re always reinventing yourself even when you think you’ve finished the work. It’s always a new challenge. The other day I was speaking with someone about starting at zero periodically. That’s not meant to sound negative in any way, but it’s a reminder we’re always learning and always moving forward.” For the first time in forty years, Jonathan doesn’t have an agent. The agency changed and moved on, and he thought this was a good time to self-represent, really go solo and really create his own work in a way that has been “fantastic and very empowering”. During these last two-plus years, Wilson says the positive side was concentrating on solo writing as a self-creator. Back in his Second City days, he learned that as a writer he could hire himself. Additionally, Studio 180 has also assisted him in developing a new solo piece entitled ‘A Public Display of Affection’ that was filmed and, just this past spring, there was a public screening of it at Toronto’s Paradise Cinema on Bloor. Wilson says the lockdown has provided new learning opportunities for himself and his craft regarding digital capture of a theatre performance without an audience. He recently re-visited The Rivoli on Queen Street, one of his old haunts, where he did sketch comedy and improv. He got to perform a section of his upcoming show in front of a live audience, and he was thrilled he had the chance to do that. With the upcoming production of ‘Gay for Pay with Blake and Clay’, Wilson is looking forward to having a live audience in front once again. A press release stated the following about the upcoming production: “Every actor knows there is nothing more prestigious than bravely playing gay. But is your pesky heterosexuality getting in the way of booking a one-way ticket to award season? Join Blake and Clay, two seasoned gay actors, as they teach you to play gay and make LGBTQ about YOU. Go from straight to straight-up booked! Let their lived experience get your acting career off life support! Because representation matters, but their representation hasn't called in ages.” The Toronto Fringe sellout of ‘Gay for Pay’ won the 2022 Second City Award for Outstanding Comedy and Patron’s Pick. It opens on November 16 and runs to November 27 at Crow’s Theatre. Wilson worked with co-creator/performer and actor Daniel Krolik seven years ago on a Studio 180 piece for the PanAm Games. They became friends and Daniel encouraged Wilson to continue writing and self-producing. This past spring, Daniel was writing a Fringe show with co-creator Curtis Campbell and approached Jonathan to ask him if he would ever consider doing a Fringe show. They produced some online material. Jonathan saw the online material and it made him laugh. Curtis does a character named Alanis Percocet (and I had a good laugh over that). Jonathan started his career in Fringe shows. He only had to think for what he calls two seconds to agree to do the show. According to Wilson, Krolik and Campbell went away and wrote the show, a fake fun acting class. The premise? Two theatre performers have found an assigned gig and are teaching straight actors how to play gay. When he read the script, Wilson said he laughed so much and considers the rehearsal process and performance a real gift as an actor. He has a chance to continue honing his comedic skills as an actor. There’s improv in the show as well. There’s a community group effort with a lot of give and take with the audience in responses only. Wilson says: “It’s been a lot of fun and a reminder that in the theatre world comedy is overlooked. If anything, we need laughter right now.” Jonathan reassures that audience members will not be pulled up or ‘picked on’ to participate in the action of the production. As an audience member, he doesn’t like when that happens, and he doesn’t think it’s right for him to do that to an audience. At the Fringe, ‘Gay for Pay’ was sold out every night and Jonathan had a fantastic time doing it then. He credits and thanks Crow’s Artistic Director Chris Abraham for opening the door once again to perform it in the east end. Was there a reason the title does not use the names of the actors? Jonathan was looking for significance when he got the script wondering why the two characters are called Blake and Clay. Co-creators Curtis and Daniel said they both thought it sounded funny. Jonathan plays Clay so he wondered if he is supposed to be able to be moulded like clay in helping the students in this class take new forms. Director of the production, Curtis Campbell, told Jonathan: ‘Whatever! If that works for you, Jon, go ahead.” Jonathan then jokingly poked fun at himself by saying to give actors some seed and off they go to grow in whatever form they want. He’s having a great time with the production. Performances of ‘Gay for Pay with Blake and Clay’ run to November 27 at Streetcar Crow’s Theatre, 345 Carlaw Avenue (Toronto) in the Studio Theatre. Running time is approximately one hour with no intermission. For tickets, visit crowstheatre.com, click the WHAT’S ON tab and purchase tickets online. You can also call the Box Office at (647) 341-7390. I’ll be reviewing the production this week. Look for my review to follow shortly thereafter. Previous Next

A talk with a professional artist about their career. Back Yolanda Bonnell Self Isolated Artist Ty Sloane Joe Szekeres Yolanda (She/Her) is a Queer 2 Spirit Ojibwe and South Asian mixed performer, playwright, and poet from Fort William First Nation in Thunder Bay, Ontario. Now based in Tkarón: to, and a graduate of Humber College’s Theatre Performance program, she and Michif (Métis) artist Cole Alvis began manidoons collective: a circle of artists creating Indigenous performance. In February 2020, Yolanda’s recently four-time Dora nominated solo show bug was remounted at Theatre Passe Muraille which garnered a great deal of controversial interest. She has performed on stages at the Stratford Festival, the NAC, and The Cultch. Yolanda was recently nominated for a Dora award for her performance as Narrator/Bear son in Two Odysseys: Pimooteewin/ Gállábártnit. We conducted our interview and conversation via email: It has been the three-month mark since we’ve all been in isolation, and some places are starting to emerge into Stage 2. How have you been faring? How has your immediate family been doing during this time? My family is doing well. They’re healthy so far. My mother is immunocompromised and she lives with my sister who is a dental assistant and has just been forced back to work. I’m nervous. She’s nervous, but they’re all being as safe as they can be. As for myself, you know I was doing alright in the beginning. As a person with a lot of social anxiety I didn’t mind having to stay home too much and spending time with myself was seemingly a good thing. I think, as time went on in isolation and lacking human touch, my depression sort of reared its ugly head, so it hasn’t always been easy and the last few weeks have been especially tough. I’m fortunate enough to have a fantastic support network that keeps me safe. As a performer, what has been the most difficult and challenging for you professionally and personally? Personally, as a performer, I’d say the structure of colonial theatre has been difficult to work within. It doesn’t give any room for our humanity. The long workdays, the rigidity, the ‘leaving your baggage at the door’, the two show days. It’s not sustainable and cast, creative teams, and production teams end up being worn down and, because it’s the arts, you have to get up and go do it again and again. And, if you’re working on a play that has difficult or traumatic content, this type of environment doesn’t give space for care. It’s so important that we continue to work towards more sustainable and healthier ways of storytelling. 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 so many projects this summer! I was meant to be a part of Banff’s Playwright’s Lab in April with my play, My Sister’s Rage, which was then meant to have a workshop. I was also supposed to have a two-week workshop of White Girls in Moccasins, which is my play in residency with Buddies in Bad Times. Both of which we ended up doing virtual versions of the workshops, complete with online readings. We have some hopes for getting into a room in the fall, but we’ll see what happens. My solo show, bug, was also supposed to have a three-day run-in Stratford as part of the Lab series. Most of the projects are all sort of up in the air, as I believe many are - just waiting to see what happens. What have you been doing to keep yourself busy during this time? A lot of Netflix, again - I’m sure this is a common answer. I’ve also been doing a lot of beading. Trying to get better at it. It’s really calming, and I can spend hours doing it. I’ve also been trying to do as much activism as I can with this incredible revolution we’re seeing with the push to dismantle systemic racism. The balance of important, revolutionary work and attempting to disconnect and breathe can be difficult, but both keep me busy in different ways. 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? I would say read. Read plays by Indigenous and Black playwrights, and other playwrights of colour. I think it’s important for artists, and especially theatre school grads, to look into plays that they most likely weren’t given access to at their schools. Read books about the history of this land in your spare time. Because how can we create and perform art on this land without fully understanding what we have and how we have it? Specifically, to BIPOC artists, I would say to never be afraid to use your voice. You have more power than they let you think you do. Do you see anything positive stemming from COVID 19? Well, I think it definitely gave everyone a moment to slow down. Living in a capitalist machine, as we all do, there was no breathing room. We’re breathing now. Or trying to. We’ve exposed capitalism as a structure that doesn’t work and that’s important. I think it’s interesting that with this pandemic happening, it’s led to economic decline, which I think gives access and room for this revolutionary uprising we’re in right now. And as tough as it is - especially for Black and Indigenous folks - we are seeing small positive changes happening when it comes to systemic racism. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? Yeah, I think it might - I mean how could it not? It’s tough to say whether it’ll be positive or negative. Maybe both. We’ll probably see a drop in the amount of plays being programmed for a while due to the money being lost during the closed seasons. At the same time, it also gives room for longer development and rehearsal periods. We’re definitely going to see a huge shift in how we make and produce theatre over the next couple of years. 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? I’ve done a couple of live streams myself and I think it’s fine. It definitely has its challenges, but something we have to remember is that disabled artists have been doing a lot of this work for a while. Not all theatres are accessible for performers or audience members or, if they are, it’s often a big deal to get to an elevator. I think this is an opportunity to re-think theatre accessibility. Maybe all theatre should be live-streamed or have Livestream specific shows or a mix of both. I have a friend who can’t sit in chairs for a long period of time due to her disability. There was this show that would have been amazing for her to see and she couldn’t go see it because we don’t make theatres comfortable for all bodies. This is a chance to change that. If you can’t rip out your chairs and replace them with better seats (which is what I think should happen), then we need to think about other ways in which our stories can be accessed, and maybe online is the way to do that. Colonizers built this society for only certain types of people and institutions uphold that. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? Our stories are medicine and storytellers are the vessels of that medicine. It doesn’t matter how the story is told, just that it is told. And that can never be taken away. 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: *You HAVE to know how excited I am about this. As a young person, I loved watching ‘Inside the Actors’ Studio’ and I so badly wanted to be on it, mostly for these questions, so thank you for making a little dream come true* 1. What is your favourite word? Odebwewin (it means the sound of the heart) 2. What is your least favourite word? Fiscal 3. What turns you on? Passion 4. What turns you off? White tears/guilt/ignorance 5. What sound or noise do you love? Babies laughing 6. What sound or noise bothers you? Sirens 7. What is your favourite curse word? Fuck What is your least favourite curse word? Anything that tries to replace a curse word (ie; Frick) 8. Other than your own, what other career profession could you see yourself doing? Entomologist 9. What career choice could you not see yourself doing? Cop 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You did great work. I’m proud of you. Yes, you can return as a bear.” You can learn more about Yolanda by visiting www.yolandabonnell.com and www.manidoons.com Twitter: Yolanda_Bonnell Previous Next

A talk with a professional artist about their career. Back Jamar Adams Thompson “[The rehearsal process for ‘Tyson’s Song’] has demanded from us a greater amount of trust in our vulnerability with each other and our ability to hold space and grace with one another.” Joe Szekeres The last time I saw Jamar Adams Thompson appear on stage was in Cahoots’ Theatre Production of Steven Elliot Jackson’s ‘Three Ordinary Men’, directed by Tanisha Taitt. I remember being so moved by that production that I could not speak for a moment afterward. Jamar was part of a terrific ensemble that kept me riveted by the story’s action. He was appreciative and humbled by the audience’s experience of ‘Three Ordinary Men’ at the time, and he says that experience will remain part of his heart forever. Knowing that Jackson’s story deeply touches audiences means the world to him. We interviewed via email. Jamar is a University of Windsor alumni and holds a BFA (Bachelor of Fine Arts) Honours in Acting. He is smack dab in rehearsals for the upcoming Canadian premiere production of Peter N. Bailey’s ‘Tyson’s Song, ’ which opens April 26 at Toronto’s Factory Studio Theatre. This is Adams Thompson’s debut working with director Ash Knight and production company Pleiades Theatre. Working on the production with a team that he calls passionate and intelligent has made the process both inspiring and challenging as an actor. He calls Ash Knight: “one of the most passionate directors I know who really speaks true to his convictions.” Knight is always keen on exploring the most interesting choice in a character’s objectives and motivations. For that reason, Jamar feels he has never felt more born for a role. ‘Tyson’s Song’ is a story about two best friends, two brothers, on one last big night out in the city. The play is a conversation not only among brothers but also one that is unspoken for many of the viewers who might relate to these characters. This conversation, this story, ultimately unpacks some very real issues in the Black male community of mental health, the absence of genuine emotional support and positive emotional outlets, and questions of masculinity, identity and self-fulfilment. It is a story of real pain but also one of hope. Adams Thompson truthfully claims that ‘Tyson’s Song’ found its way to him. Unbeknownst to each other, two close friends of his had forwarded the e-drive submission about the show, demanding that Jamar audition. When he read the submission email the next day, it was as if I was coming home after a very long pilgrimage: “The email mentioned “Black men’s mental health” and “Brotherhood” and specifically sought second-generation Jamaican/Caribbean-Canadian artists. I have and will always remain an advocate for the continued discussion of mental health and support among all people, but to know that someone was finally writing a Canadian story for someone like ME was nothing shy of a dream come true.” Excitement would be an understatement describing how Jamar feels about the upcoming premiere. He recognizes the pressure artists always feel when presenting new work. Still, as surreal as that may sound, this is the first time Jamar has had the chance to explore a character from his particular side of the Black diaspora. Although many more stories are being told and written for his people in general, there is still so much more room for the stories of Caribbean people in Canada. Jamaica has influenced so much of the culture in Toronto, from its cuisine to music to art and, most notably, its cultural slang. Despite this influence and the abundant population of Jamaicans in the city, their stories have not made footing in the theatre as they have in the poetry, music and dance scenes, or even the visual arts. One of his biggest hopes with the premiere of ‘Tyson’s Song’ is to motivate a greater ushering of Caribbean and Jamaican-Canadian stories within the city. ‘Tyson’s Song’ appeals to me for several reasons. One is to learn more about the stories of the Caribbean people in Canada. I also want to see Jamar’s work in a completely different setting from ‘Three Ordinary Men.’ I also have a personal connection to Jamar’s fellow actor, Kyle Brown. I taught him when he was in high school: “WOW! What a full-circle moment for you as well! You'll be proud of him. Kyle and I hit it off very strongly from the auditions. We had the pleasure of working together in the callback, and right away, a palpable grace came with his presence. It was so easy to play off one another and help each other shine.” Jamar calls Kyle an incredibly generous and honest performer. Their most significant discovery with these characters is their unique ability to relate with both of them. They each carry a bit of Tyson and Bryan and could easily have read for the other’s part. This unique empathy has allowed them to bridge many hidden gaps and barriers in connecting with the characters and each other in a way that he thinks has surprised them both. What’s next for Jamar Adams Thompson once ‘Tyson’s Song’ concludes its Canadian premiere? He jokingly stated in jest that a nap would be ideal, as I’m sure any actor who is presenting new work would. But he’s not one to rest too long. Jamar has been keeping busy in hopes of pursuing his MFA (Master of Fine Arts degree) quite soon. While his goal is always acting, be it on stage or in front of the camera, he is taking more steps towards participating in his own play premiere. Writing has not so secretly been a large aim in fulfilling his purpose as a storyteller! His hope is to have some scripts and anthologies that he has been working on come to life at a theatre near us. He closed off our email conversation with a 😊 and said: “Stay tuned.” ‘Tyson’s Song’ runs from April 24 to May 19, 2024, in the Factory Studio Theatre (125 Bathurst St.). Tickets are pay-what-you-choose starting from $5, at PleiadesTheatre.org or FactoryTheatre.com. Previous Next

A talk with a professional artist about their career. Back Gregory Prest “I feel my job right now is to continue making work.” Dahlia Katz Joe Szekeres I’ve begun a check-in on some artists. In 2020, I held my first conversation with artist Gregory Prest. You can find the link to his earlier profile here: www.onstageblog.com/profiles/gregory-prest. Last time I saw Gregory on stage was as Ron Weasley in the now-closed Toronto production of ‘Harry Potter and the Cursed Child.’ For the last several weeks, he has been the adaptor and the director of the world premiere of Soulpepper’s ‘De Profundis: Oscar Wilde in Jail’, now in previews. The production opens on February 8. Before we even talked about the opening of ‘De Profundis’ this week, I wanted to check in on him to see how he’s feeling professionally and personally about the theatre industry: “It’s not NOT alarming…I don’t know what to think about it. I’m unsure about it. I really don’t know what to do other than to continue doing the work. I don’t have the responsibility of running an institution and trying to figure out how to make it all work in this new world. I feel my job right now is to continue making work.” That reminded me of the motivational UK poster in preparation for World War 2: “Keep Calm and Carry On’. Now, I’m not saying there will be a war of any kind; however, when challenging times continue, we all need to continue what we do daily and keep busy. Prest sees this as an opportunity for the theatre community to continue supporting each other, showing up, and buying tickets to see the work. His latest venture, ‘De Profundis: Oscar Wilde in Jail, ’ opens on February 8. According to the Soulpepper website, [it]is a musical fantasy based on the letter Oscar Wilde wrote while incarcerated for two years at Reading Gaol to his love, Lord Alfred Douglas. The letter was written a page a day over a period of three months, collected at the end of each day, and handed over to Wilde on his release from prison.” Prest is the adaptor and director for this world-premiere production. Rehearsals have gone well, as did the technical rehearsals. Part of the exercise was to come in every night of the preview and watch as if he had never seen the show. There was so much historical context that had to be taken into consideration. The text of ‘De Profundis’ would have probably created fifteen shows, so the entire letter is not in this production. Selections had to be made, and audience experience was essential at this time. Gregory doesn’t call the week before opening Hell Week but rather the ‘wildly unstable snipping section of time.’ ‘De Profundis’ is an experiment in a lot of ways. The creative team is trying something exciting and moving, challenging, interesting, and engaging. Part of the preview period is seeing what the show does and responding as a creative team to how the audience reacts. Prest sees the show changing significantly during previews as the time right now is seeing what is clear for audiences and what is not clear: “A show like [De Profundis] that is abstract in nature is not really linear or narratively driven but emotionally and narratively driven. There’s so much space in it; sometimes that’s a good thing, and sometimes it’s a confusing thing and a puzzle to figure out.” Gregory does not want to leave anyone out in the cold. He jokingly said he doesn’t want audiences coming in and wondering, ‘Who’s Oscar Wilde?’ We shared a quick laugh over that, but again, that’s a fear a creative team must keep in mind. For Prest, Wilde is an incredible artist. ‘De Profundis’ is not meant to be a piece of theatre; it’s a letter. Yet something is fascinating about this letter. It feels like this letter has become the first celebrity trial. Wilde was someone at the top of his game with significant influence, power and reputation who publicly fell, failed, and was the target of scorn and humiliation. The experience of this process for Prest himself is being on the inside. One of the things that became clear at the end of the letter was how to move forward when everything has fallen around you. How does one deconstruct an ego when you’re alone? How do you move forward with sorrow and disappointment? What is so moving about ‘De Profundis’ for Gregory? It’s the piece's dynamic, along with Wilde’s slow movement toward walking with the disappointing facts of his life hand in hand with acceptance. The transformation in the piece is one of moving with a former self as opposed to becoming something new. Prest finds this really interesting right now. The process for the generation of ‘De Profundis’ started with Prest and Original Music and Lyrics by Sarah Wilson and Mike Ross in a room. They spent three days reading the letter, going through it and then realizing the need to break it. Prest calls himself conservative and said if it were up to him, he’d like to stage the entire letter. He had a good laugh, knowing that wouldn’t be possible. The task of bringing ‘De Profundis’ to the stage has been humbling. The team had to: “pull things out and explode things as an act of love.” Out of love, they’ve had to destroy the letter and try to re-build it again. ‘De Profundis’ is not a natural idea for a musical, but it’s challenging and worth pursuing. Mike and Sarah then went to work, and the three came back together, worked again, and then went away to work. Eventually, Damien Atkins (who plays Oscar Wilde) was then brought in. It was continuously creating material, putting it side by side and seeing how everything spoke to each other. The music in ‘De Profundis’ reflects something underneath the plot, a bird’s eye view, perhaps of a moment with Oscar and then coming back down. Jonathan Corkal-Astorga and Colton Curtis appear with Damien in the production. What has each of them brought to the story according to Prest? Jonathan has brought professionalism, skill and heart with care, interest, and sensitivity. Colton brings incredible skill as a dancer and is the most generous person in the room you can find. With sensitivity and skill, Colton brings an enigma to the character of Lord Alfred Douglas (Wilde’s lover). To play him is not an easy task. Damien is all humanity, humour, rage, camp, and talent. This is why it’s so beautiful to have him play Oscar Wilde. Prest calls Damien a ‘great’ friend. When you’re in his presence, and he is ‘on,’ Prest calls it as if you are sitting next to the sun. For him, this is what it must have felt like to be around Oscar Wilde. Just to be clear: Damien is not making an impression of Oscar Wilde; there’s no dialect as we’re not in that world for ‘De Profundis.’ The story is set in a different kind of dreamlike place but with that sense of celebrity. As we begin to close our conversation, Prest recommends reading the entirety of ‘De Profundis’ because it is a beautiful experience. The letter is such a coded document. Wilde could say things and couldn’t say certain things. Even though the letter was very private, it was also public. Prest smiled and said they were being reckless about some things. Without being weird about it, Prest believes some people will really dig ‘De Profundis’ while others are really going not to do so. The flip side to this thinking is if you really like Oscar Wilde, you may really loathe this ‘De Profundis.’ Prest also quickly adds that the production is not meant to be definitive, as there have been many stories, plays, and films about Wilde. What’s next for Gregory once ‘De Profundis’ completes its run? He begins rehearsals as an actor for Canadian Stage’s ‘The Inheritance.’ For these last few days, he has been doing double duty of rehearsals at CanStage in the morning and heading back to Soulpepper in the afternoon for final tweaking and juggling. A remount of ‘A Streetcar Named Desire’ will be performed at Soulpepper, and he’s involved in that production: “It’ll be very good and healthy after this process [of De Profundis] to land in someone else’s room with a big ensemble and have a change of pace as an actor.” Is there time for Gregory Prest to be just Gregory: son, partner, brother, and friend amidst all this rehearsal? “Never!!!!!!!!!, but we’ll see, we’ll see.” ‘De Profundis: Oscar Wilde in Jail’ is now in previews. It opens on February 8 and runs to February 18, 2024, in The Young Centre for the Performing Arts, 50 Tank House Lane, in Toronto’s Distillery District. For tickets, youngcentre.ca or call 1-416-866-8666. To learn more about Soulpepper Theatre, visit soulpepper.ca. Previous Next