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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

Back 'Frog Song - A New Children's Opera' Book by Taylor Marie Graham; Music by William Rowson A WORLD PREMIERE Presented by Here for Now Theatre on the grounds of the Stratford Perth Museum Courtesy of Here for Now website Geoffrey Coulter, Guest writer, actor, director, arts educator “Frog Song” has passion but needs to leap a little further to proclaim itself a true children’s opera. What does a boy in a frog suit, an insecure soprano, her free-spirited costume designer friend, a fairy-tale inspired singing competition and a trio of hopping frogs have in common? They’re all summer campers at the enchanted Camp Songbird, discovering how song will change their lives and relationships forever. Stratford’s independent theatre company, Here for Now, presents the premiere of the new one-act children’s opera, “Frog Song”, a charming and fanciful tale of facing fears, self-confidence, finding new friends and lots of operatic singing. Navdeep and Wyatt are two disparate pre-teens paired to participate in a singing competition. Though divergent in talents and attitudes, they have mysterious dreams featuring a trio of mischievous singing frogs. With the help of other campers and their director, they must defeat their fears and sing their respective truths to the world. The dynamic cast of 7 talented performers, three doing double duty morphing between human campers and pouncing polliwogs, thoroughly invested themselves in their extraordinary characters, with an exaggerated but never phony acting style. After all, this is a show geared to a particular audience and is rightly limited to a 65-minute running time for those who may get squirmy after an extended period of sitting still. This is a show that needs to provide constant stimulation to keep younger viewers interested and engaged. This production started well. More on this later. The venue, located on the grounds of the Stratford Perth Museum, is refreshingly unique; a small rectangular white tent, open on one side to a small patch of grass and an endless vista of farmland (with an encroaching housing development in the distance). The action takes place on a small elevated square stage within and, aptly, on the turf beyond. Performers enter and exit from outside, popping in and out from their jungly backstage. A rather heavy summer deluge earlier in the day left most of the grass and pathways a soggy, slippery bog, a particularly authentic setting for the frogs but often making actor (and patron) exits and entrances precarious. A wet and muddy stage and soiled costumes didn’t faze this cast in the slightest. Director Liza Balkan does an admirable job staging her actors’ comings and goings both within and outside the tent, keeping the narrative flowing and interesting. Unfortunately, Beth Kates’ projections of some very cool abstract art above the stage were washed out and awkwardly positioned. I’m sure most of the audience didn’t see them. The simple low-budget set dressings by designer Bonnie Deakin evoked a fantasy summer camp with funky lawn signs and games - a bit sparse but we got the idea. Deakin’s costumes are rather ordinary, consisting of pastel T-shirts, leggings, shorts, and running shoes with an occasional vibrant shirt, vest and bowtie PLUS a onesie frog costume. Changing the chorus from frogs to humans by having them don and doff ball caps with bulbous eyes secured to them was innovative and practical. Under William Rowson’s deft musical direction, the cast brings cadence to his pleasant but standard compositions of coloratura and arias. Curiously, the program billing proclaims this production “…with the Stratford Symphony Orchestra”. I was puzzled when only two keyboards provided piano accompaniment. Priya Khatri, as Navdeep, the resilient, empathetic camper with a heart of gold, blesses us with her angelic soprano though my companion and I had trouble understanding all her lyrics. As flamboyant camp director Jay, Derek Kwan’s bel canto tenor, charming smile and affable demeanour are right on. However, at times his lyrics were also difficult to discern. Wyatt, played by Ben Skipper, gives us a multi-dimensional and utterly convincing performance as a melancholy young camper caught in a personal crisis. Darcey Baker as Riley, a quirky and fun-loving old friend of Navdeep’s, has an expansive voice with volume to spare (perhaps too much for such a wee venue). As the frog chorus (and campers), Megan Dart, Michael Neale, and Lucy Sanci spend most of the show crouched on the wet grass and boast excellently stylized physical and vocal abilities and interpretations. “Frog Song” is billed as a children’s opera but needs to connect more meaningfully with its junior crowd. The script’s decisive message of cooperation and friendship starts well but loses its staying power. Kids have visceral but finite reactions to the extraordinary. Children at the show I attended were completely engrossed for the first half of the show, especially in Wyatt, dressed as a giant frog. However, attention waned in the second half. Perhaps the fairy tale element needs embellishment or more outlandish costumes and props. Perhaps the lead characters need funnier, wackier, more off-the-wall dialogue. Maybe lyrics and music need to be exhilarating, catchy and memorable. The story can’t let up for a moment. Opera is a bizarre, wonderful, head-on collision between music, drama, and passion. “Frog Song” has passion but needs to leap a little further to proclaim itself a true children’s opera. Running Time: approximately 65 minutes with no interval. The production runs until August 12 on the grounds of the Stratford Perth Museum, 4275 Huron Road. For tickets, call the Box Office: 519.272.HFNT(4368) or visit herefornowtheatre.com. Previous Next

Back Chicago The Stratford Festival David Hou Joe Szekeres Simple Math Equation: “If Roxie Rocks Chicago, does ‘Chicago’ Rock The Stratford Festival?” You don’t have to look in the back of the textbook for that answer. ‘Chicago’ blows the roof off the Festival Theatre. It’s gonna sell out quickly so make sure you get your tickets while you can. Once I heard the rights were attained to produce the show for the Festival’s unique thrust stage theatre and what Donna Feore calls in her Director/Choreographer Note: “the rare opportunity to completely reimagine the production [since] ‘Chicago’ is a big show, and dance is not locked in time.”, I was curious how she would stage the production since for me the definitive versions in my experience were the New York cast with Bebe Neuwirth and Joel Grey plus the touring production at the Princess of Wales years ago. Both excellent. But a totally reimagined and re-staged ‘Chicago’? Yes. A thousand times, yes. Feore’s optimal staging of the plot with prizewinning, divine and to die for choreography work divinely and magnificently as every inch of the thrust Festival stage is utilized to maximum effect and capacity. There are musical moments where so much occurs, but it just reinforces Billy Flynn’s showstopper ‘Razzle Dazzle’ that life is a circus at times. This entire company is having one hell of a good time and their contagion infected the audience so quickly. It’s one time when I felt I didn’t care if I caught that boozy bug. It is the 1920s. Vaudevillian wannabe Roxie Hart (Chelsea Preston) has fatally shot her lover Fred Casely (Chad McFadden). Claiming he was a burglar, Roxie convinces her dull mechanic husband Amos (Steve Ross) to take the rap. When Amos finds out the truth, he turns Roxie in where she is remanded to the Cook County Jail to await her trial. It’s at the jail where Roxie meets Velma Kelly (Jennifer Rider-Shaw), a fading vaudevillian star who killed her husband and sister after discovering they committed adultery. Velma has slick defence lawyer Billy Flynn (Dan Chameroy) retained by prison matron Mama Morton (Sandra Caldwell) who offers to put Roxie in touch with him. Flynn agrees to take Roxie’s case as well after she persuades Amos to pay his substantial fee. Michael Gianfrancesco has re-created a jaw-droppingly realistic speakeasy set from the 1920s. Even amid the sense of disorder on stage after a night at the club, there is a sense of order present. A ghost lamp appears centre stage. Tables are placed throughout and some chairs are overturned. Some glass bottles in cartons are also found on stage. Gianfrancesco’s set is two level as there is a rounded railing out front from which actors can be placed. Dana Osborne’s Costume Designs are fantastic recreations of the 1920s from flapper dresses to flashy loud pin-striped suits and matching vests. Michael Walton’s Lighting Design and Peter McBoyle’s Sound Design all contribute gratifyingly to the flash and dazzle of the era. A huge shout of appreciation and gratitude to Mr. McBoyle as well for the fact I could hear every single lyric in each musical number. And the music! That gloriously sexy-sounding music under Franklin Brasz’s direction evokes that heightened and gritty acute sense of smell in picking up the stale stench of booze, billowing cigarette and wafting cigar smoke that jutted out from these seedy nightclubs. And those musical numbers! The first note of ‘All that Jazz’ and the roar of applause which was repeated for ‘Cell Block Tango’ (and what an inventive way to involve the male dancers in that number). Chameroy’s entrance in ‘All I Care About Is Love’ is executed in such perfect timing the audience once again roared with approval. So good. As Roxie Hart and Velma Kelly, Chelsea Preston and Jennifer Rider-Shaw initially may resemble kewpie-eyed bimbos out to make a fast buck in whatever way possible. No way! Preston and Rider-Shaw beautifully play Roxie and Velma not as vapid chorines but as intelligent and smart (and yes, sensitive, even though they both have committed murder) gals who work with Flynn to get what they want. And, as we all know with society’s fascination with celebrity behaviour, they get away with it and we love them even more for it. Plus, a bonus with Preston and Rider-Shaw. The pipes on these ladies. They can belt a tune, parallel harmoniously in song, and carry out a Feore dance with splash and aplomb. Underneath that “Sad Sack’ skin of Roxie’s dimwitted husband, Amos, Steve Ross radiates so much compassionate empathy (as R. Markus points out in a perfect diva Mary Sunshine reporter moment in their song ‘A Little Bit of Good’) that I wanted just to walk up there and give him a big bear hug right after his ‘Mister Cellophane’. Ross just inherently knew when to pause during the song both for comic and poignant effect. Such good work. Dan Chameroy is primo slick as defence lawyer Billy Flynn that he would make it appear as if being swindled would be just fine. His eleven o’clock ‘Razzle Dazzle’ number that life is sometimes just for the ornate show brought down the house once more. Beneath that smile of Sandra Caldwell’s Matron Mama Morton lies a deceptive individual who would sell her own mother to make a fast buck. I love the line “Ask any of the chickies in my pen/They’ll tell you I’m the biggest mother hen” from ‘When You’re Good to Mama’. Who really cares if Mama cares about these gals under her guard? She’s out to make a fast buck like all those individuals in Cook County to get themselves out of the prison, and they’re having a hell of a good time in the process. That’s all that counts to them. This five-star hot, torrid, athletic and kinetic ensemble tackles Feore’s choreography with great gusto and hearty aplomb. From what I could see from my seat, every dance move was also keenly connected with facial and eye contact that radiated passionate licentiousness. Feore’s choreography remains one of the highlights of the production, and it appeared to me this ensemble wanted to do justice to the work. Final Comments: If you have seen the New York/touring revival of ‘Chicago’ now playing in New York or on tour, you owe it as a treat to yourself to come to Stratford before the door of this speakeasy is closed. “Chicago is a winner. Dynamite from beginning to end. Flawless in performance.” Running Time: approximately two hours and 40 minutes with one intermission. As of the writing of this article, Covid protocols are in effect at the theatre. ‘Chicago’ runs to October 30 at the Festival Theatre, 55 Queen Street, Stratford. For tickets, www.stratfordfestival.ca or call 1-800-567-1600. Chicago, based on the play by Maurine Dallas Watkins with script adaptation by David Thompson Book by Fred Ebb and Bob Fosse Music by John Kander Lyrics by Fred Ebb Producer: Dave Auster Director and Choreographer: Donna Feore Music Director: Franklin Brasz Set Designer: Michael Gianfrancesco Costume Designer: Dana Osborne Lighting Designer: Michael Walton Sound Designer: Peter McBoyle The Company: Jennifer Rider-Shaw, Chelsea Preston, Chad McFadden, Steve Ross, Stephen Patterson, Bethany Kovarik, Amanda Lundgren, Heather Kosik, Bonnie Jordan, Celeste Catena, Sandra Caldwell, Dan Chameroy, R. Markus, Amanda De Freitas, Devon Michael Brown, Philip Seguin, Gabriel Antonacci, Robert Ball, Henry Firmston, Jordan Mah, Eric Abel, Jason Sermonia, Julius Sermonia Previous Next

Back 'Uncle Vanya' by Anton Chekhov in a new version by Liisa Repo-Martell Now onstage in the Guloien Theatre at Crow's Theatre Bahia Watson and Tom Rooney. Photo by Dahlia Katz Joe Szekeres An astounding adaptation by Liisa Repo-Martell of Chekhov’s ‘Uncle Vanya’ that remains firmly riveted in my mind. Not merely just to see but to experience an opening night of Liisa Repo-Martell’s new version of Chekhov’s ‘Uncle Vanya’ is one of the reasons why we must continue attending the theatre. Again, I confess that I’ve not seen a live production of ‘Uncle Vanya’, but I briefly knew the story. But when a play hits me on many emotional levels, I want to share and encourage everyone to attend this ‘must-see production’. Chris Abraham and Liisa Repo-Martell’s Programme Notes spoke about how sometimes the “opening up of dormant dreams, passions and ambitions is risky because sometimes we must risk everything to get something new.” Abraham has majestically captured a truly stunning vision of this statement in his risk-taking about the “telling of the truth of the lives of these characters – just as they were” when we meet them. There appears to be something uniquely different about this world of ‘Uncle Vanya’ upon entering the Guloien. When we do, we’re instructed to go either left or right depending on the colour code of our ticket. And as I saw the world created inside the auditorium, I felt my jaw drop as if I’d experienced something sacrosanct. Those in front of me appeared to feel the same as we tried not to cross the sacredness of the stage. It’s not a traditional proscenium arch setting for this ‘Uncle Vanya’, and that was a wise choice by Abraham and co-set designers Julie Fox and Josh Quinlan. We are in a theatre in the round which magnificently captures how grand this estate must have been in the waning days of Czarist Russia. The actors always make tremendous use of the entire stage, and never, ever does it look as if they are crowding in one spot. Instead, I always felt as if I was that proverbial fly on the wall watching with anticipation what was playing out before me. Kimberly Purtell and Thomas Ryder Payne’s lighting and sound designs gorgeously reflect the era and the historical moment in which we find ourselves. Purtell’s soft lighting designs nicely reflect the glow of the oil lamps used throughout. Ryder Payne’s richness in sound design magnificently underscores the tension within the scene. The growing sound of the impending storm caught my ear so many times and I kept wondering when the heavens would open it. And when it finally does, breathtaking to hear. Ming Wong’s costume designs splendidly reflected the muted earth-tone colours of the era. I’m reminded of the line “Attention must be paid” from ‘Death of a Salesman’ and, once again, Fox and Quinlan have done just that in the selection of many noteworthy period piece props from a Victrola to the fine bone china right to the gorgeous chandelier suspended over the stage. Before the performance began, my eyes scanned every inch of that stage noticing so many of the intricate details of the set dressing that I encourage future audiences to do the same. Ivan “Vanya” Voinitsky (sublime work by Tom Rooney) and his niece, Sonya (a passionately emotional performance by Bahia Watson) toil ceaselessly to run the family estate. The arrival of Sonya’s father celebrated and retired professor, Alexandre (a fervently ardent Eric Peterson) returns to live on the estate with his young and glamourous second wife, Yelena (believably vulnerable and grounded work by Shannon Taylor) which adds turmoil and conflict to this group of those gathered because we so learn she does not love the older man. We learn about the lives of other individuals on this estate. Carolyn Fe is a matriarchal Marina who offers solace and comfort, especially to Sonya in intense moments. We also meet the handsome country doctor Astrov (a gallant performance by Ali Kazmi) whom Sonya has secretly adored for quite some time but never feels validated because she considers herself homely. It is in Astrov’s opening comments in the play that he recalls his first visit to the region when Vera Petrovna (Alexandre’s first wife and Sonya’s mother) was still alive. As Astrov, Kazmi heartfully reveals his selfishness regarding life in this part of the country as boring and dull and he doesn’t have time for anything including love and affection. Astrov has appeared on the estate to treat Alexandre’s painful gout. Upon Alexandre and Yelena’s arrival at the estate, we also meet Maria (dtaborah johnson), Vanya’s mother who clearly has issues of her own to deal with but manages to provide brief moments and bits of humour. And there is Telegin nicknamed Waffles on account of his pockmarked face. I found there to be a great sadness enveloping him, and Anand Rajaram steadfastly infuses the character with great gusto. The one believable yet sad moment of humour he does provide with Astrov occurs in their drunken stupor where they begin singing a ditty which brought applause from the opening night audience. I’ve always wondered why this play is named after Vanya. Tom Rooney’s sensationally staggering portrayal amply explains why. Vanya is more than just a sad sack of a man. Here is someone who truly envelopes that strong sense of lethargic unhappiness because he cannot have the one thing he wishes he could have in his life – namely, Alexandre’s wife, Yelena. It is this same sense of unrequited unhappiness that envelopes each of the characters. For example (and it isn’t Vanya) one of the characters asks another if they are truly happy, and the response from that character is a definitive no. That was then I knew why the title is an apt one. There are many moments in the production where the chemistry between the actors is electrically charged and a sight to behold in watching, listening and in hearing. As mentioned earlier, the drunken scene between Astrov and Waffles is a tour de force comic moment. Another occurs in a dream sequence dance movement between Tom Rooney and Shannon Taylor upon Vanya revealing his true feelings for Yelena and she rebukes them. This moment made me hold my breath as I watched two individuals inherently trust each other in their graceful swanlike rhythm intertwining of body and soul. I will only share two examples (although there are more) of what I will call a master class in acting pivotal moments. One occurs in the extraordinarily painful look of rejection of Bahia Watson’s Sonya as she learns Ali Kazmi’s Astrov does not feel the same about her as she does. The silence between the two and the heartbreakingly realistic look within Watson’s eyes in realizing the truth becomes achingly real. The other moment occurs at the end of the play when a quietly sobbing Vanya turns to Sonya in the realization that this life of unhappiness is all that they will ever know or attain. I felt my jaw drop as I was witnessing such remarkable delivery of regretful poignancy which tore my heart in two. Final Comments: A story of intense impassioned magnitude told with gut-wrenching honesty, this ‘Uncle Vanya’ deserves to be at the top of your list to see and to experience. It is an evening at the theatre I will never forget. I’m reading more and more about Critics’ Picks in the theatre industry. This is one of my picks. Running time: approximately 2 hours and 45 minutes with one intermission. The production runs to October 2 in the Guloien Theatre at Crow’s Nest, 345 Carlaw Avenue, Toronto. For tickets, call (647) 341-7390 or visit www.crowstheatre.com UNCLE VANYA by Anton Chekhov in a new version and adaptation by Lisa Repo-Martell World Premiere Directed Chris Abraham and Assistant Director: Lisa Repo-Martell Set and Props Co-Designers: Julie Fox and Josh Quinlan Costume Designer: Ming Wong Lighting Designer: Kimberly Purtell Sound Designer: Thomas Ryder Payne Stage Manager: Jennifer Parr Cast: Carolyn Fe, dtaborah johnson, Ali Kazmi, Eric Peterson, Anand Rajaram, Tom Rooney, Shannon Taylor, Bahia Watson. Previous Next

Back 'Deciphers' co-presented by Harbourfront Centre and DanceWorks The Torque International Contemporary Dance Series Courtesy of the artists Zoe Marin The Harbourfront Centre and DanceWorks presents: Deciphers as part of the Torque International Contemporary Dance Series. This physical performance by Naishi Wang and Jean Abreu uses Chinese Folk, Brazilian dance styles, and spoken word to explore the ideas of “understanding” and “misunderstanding”. Deciphers centers on the theme of translation, primarily from an immigrant perspective. With Deciphers’s use of varying artistic and cultural elements, the piece embraces and encourages a healthy level of confusion. I personally have limited experience watching contemporary dance, a very limited understanding of Portuguese, and my own immigration experience that is different from Wang and Abreu’s. Through this, I felt myself imposing my own personal meaning at some parts while assuming different meanings from the parts I didn’t fully understand– both of which were enjoyable. Overall, every audience member will have their own unique interpretation of Deciphers that compels them to live in that world of “understanding” and “misunderstanding.” The performance “begins” the second you enter the theater, with Wang and Abreu scribbling on a long, thin piece of white paper that stretches across the stage. Although this type of pre-show performance sometimes feels artificial, its usage in Deciphers offers a glimpse into the performers’ real personalities that are later explored throughout the show. In addition to their scribbling, they occasionally greet people in the audience or move around to draw somewhere else on the paper. Then, the light slowly fades down, and the actual show begins. After this piece of paper covered with words and drawings is showcased to us, it is crumbled tightly and flattened. It then naturally unwinds to become the centerpiece that the movement revolves around. I was very curious about how movement could portray the theme of “translation”, but the motif reveals itself more and more as the piece evolves. The centerpiece acts as a divider between the dancers, allowing them to mirror, contrast, or travel around. Sometimes, the two of them are perfectly in sync, and the crumbled paper creates a very clear visual symmetry. Because of that clear divide, it is also evident when they’re not in sync - when one is leading, and the other is trying to emulate them. At one point, one would respond to a sound or movement or invisible world in front of them, and the other would take an opposite route. Their movement is clean, but feels organic and impulse-driven, making their synchronized movements even more impactful. I particularly liked a sequence of them travelling around space quadrupedally while bobbing their heads like animals. Personally, it was difficult for me to discern when they were using specific dance styles, but this enriched the experience. In a recent profile, I did on Wang and Abreu, they talked about their use of “fusion,” presenting contemporary dance that is not fully Western, and Chinese folk and Brazilian dance that is not fully either of those cultures– instead using that physical translation to showcase a mix of everything. The frequent lack of music also helps make the precise dance styles discernable, allowing the audience to focus solely on how movement is translated. An element I would have loved to see integrated more is the spoken word in Portuguese and Mandarin. Since I couldn’t understand the text, I got to focus on the dynamic soundscape created by the two very tonally and rhythmically different languages. The few English words used sometimes contextualized the little Portuguese I understood, while other times threw me for a loop. The authoritativeness of their voices gave me the impression that this scene represented a government office or airport, with the lines discussing immigration directly. However, there is no way for me to know for sure, which made it exciting. Although I think text should be limited in a physical performance, I’m not sure if I would’ve picked up on the themes of immigration without it. Therefore, I’m glad there weren't more full text-based scenes, but I’m curious to see how text could further contextualize or even complicate some of the fully-physical sequences. Overall, I think the performance perfectly encapsulates that central theme of “translation”, and it simultaneously embraces and alienates the audience through what Wang and Abreu allow us to understand. ‘Deciphers’ co-presented by Harbourfront Centre and DanceWorks. Choreographers, Performers Naishi Wang, Jean Abreu Sound Design Olesia Onykiienko Lighting Design Lucie Bazzo Dramaturg Guy Cools Outside Eyes Ginelle Chagnon Rehearsal Director Xing Bang Fu Voice Coach Fides Krucker Access Consultant Zed Lightheart Technical Director Emerson Kafarowski Management Jean Abreu Dance, Dance Umbrella of Ontario Previous Next

Back Allegra Fulton Looking Ahead Chris Franpton Joe Szekeres I really I wish I had the chance to speak with Allegra Fulton either in person or on Zoom. You’ll see from her responses below that her energy and enthusiasm for the performing arts community and all its components were contagious to me. I liked how she said a couple of things that might be considered grandiose, but that’s okay because we all have to think big and look ahead as we emerge from this pandemic. Last year I had the opportunity to see Allegra perform in ‘Between Riverside and Crazy’ at Toronto’s Coal Mine Theatre and in ‘Sweat’ at Canadian Stage. Two opposing different characterizations but terrific work, nevertheless. Make sure you check out her personal website. I’ve included its link at the end of Allegra’s profile. Here is a lady to keep an eye on as I want to see more of her work onstage when it’s safe to return to indoor theatre. Thank you for adding your voice to the conversation, Allegra: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. For me, it’s been like a grand Buddhist exercise in surrender, acceptance and radical kindness. Meeting oneself in such global difficulty, amidst abounding fears and frustrations, and deep sadness everywhere, I’ve found my best way was to turn in and sit with all my own terrors and attempt to stay curious to my own inner landscape reflecting on what is…and not too much on what was or what will be. No big future tripping, if possible. So, if anything, I’ve used the time to really pause and to get to know my inner world better. The life of an actor, of course, is a long deep dive into the human psyche, and this experience is proving a profound one. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? More than ever, I’m glad that to be a working actor, at least in Canada, one must develop one’s talents in many areas, and learn many mediums. I’ve come from the theatre and my delight and curiosity continues to lead me back to the theatre. But I’m grateful to have cultivated skills in all kinds of arenas where an actor is needed. I also really enjoy moving between disciplines for each informs the other. I know that working in TV and film has made me a better actor on stage and visa versa. Working with a microphone, in animation, or commercial voice over, even audiobooks, each have specific demands, and continue to sharpen one’s brain, one’s elasticity, one’s instrument and which is hugely important to continue to do. I think everyone has been wonderfully impressed with themselves learning new platforms like ZOOM and being able to continue storytelling, in such wonderful new ways. I find the hybridized forms of theatre and music, and even dance, to be very exciting and exhilarating. Storytelling is storytelling, and I think we are so lucky at this moment to have so many platforms available to us to keep doing that very thing. But of course, what makes live theatre so special, and what we possibly understand now more than ever, is that wonderful energy and kinetic connection in a room, a small room, a huge room, even a stadium…The communal experiencing of story, and that’s incredibly special. The energy one plays with onstage, with one’s fellows, and with the audience, is almost a metaphysical ceremony of sorts. That sounds a bit grandiose, I know, but I believe it works in the same realm. And precisely for that reason, theatre will never die. It will continue to morph as it must each generation and century, as it has since it began many thousands of years ago. For the theatre needs only one actor and one audience to begin a ‘play’. I look forward to that exchange again. As a professional artist, what are you missing the most about the live theatre industry? The people. The energy. The thrill. The LIVE-ness of the moment, the NOW-ness of it. That no one can stop, rewind, pause, go to the bathroom, go to the kitchen and get chips, come back…it’s all happening right now, and the intense focus of both actors and audience is a very sacred and healing communal experience. I look forward to that again. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? That I have a job. But I feel that way on each project, frankly. Describe one element you hope has changed concerning the live theatre industry. The outmoded and long entrenched systems that no longer serve or help us make good art. There are many revolutions going on globally right now, and I hope it all seeps into every facet of life, and that change happens quickly and invites everyone to the table. Our world is in for a really large treat as massive amounts of new stories and perspectives are suddenly being given voice. It’s gonna be way more colourful and way more fun! Just watch. Explain what specifically you believe you must still accomplish within the industry. Oh my! I have so many roles I may never get to play, but I have them in me, and I study them and crave them. I have so much to learn, to hone, to explore. I’d also like to keep directing and working with scripts and writers and …’accomplish’ is a tricky word. I had wanted to do every Shakespeare in the canon, but I’m only just a over a third of the way, on that count. Tennessee Williams, more Chekhov, Ibsen, Pinter, Euripides, Kroetz, Churchill, Birch, Drury, Nottage, Parkes, Guirgis, and so many wonderful brand-new writers. Again, the searingly complex human psyche, yes, even by the aforementioned dead male playwrights, is hard to resist wanting to tackle as an artist at the top of my game. But to your question…Is it kinda boring to say that I don’t care to ‘accomplish’ anything but continue to create, simplify and learn better how to plumb the depths of the human condition? Sounds a bit grand, but it’s true. (My note back to Allegra: that doesn’t sound boring; to me, that sounds like the truth of the actor’s voice.) And then there is the question of passing the torch and mentoring, which I am divinely lucky to do quite a bit of. Somehow, quite by accident, I’ve collected all these beautiful young actors, playwrights, creators who come to me for coaching, advice, a good cry, a good laugh, and they teach me too, and fill me with grace, excitement and energy. I’m not shy to say that I do have a lot of ideas and opinions about things, and I am a good acting teacher for may. It’s all very quiet and unofficial, but it feels like my best way to pass along how much I’ve learned from so many great teachers along the way. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I don’t think ANYONE will relish dwelling on this time. As I discovered early on in the pandemic, there is rathe little written about the plague of the 13th, 14th, 15th century, or the flu pandemic of 1918. I should think we’ll all have had quite enough of it by then, thank you very much. But we will better appreciate and understand familiar lines like, “A pox on both your houses!” (Romeo and Juliet) As an artist, what specifically is it about your work that you want future audiences to remember about you? Depth, truth, risk, and glee. My dear colleague and friend Alexander Thomas, with whom I was lucky enough to act with in ‘Between Riverside and Crazy’ at Toronto’s Coal Mine Theatre turned to me one day and said: “Allegra Fulton: Classy but goofy.” I think that summed me up perfectly. Visit Allegra’s personal website page www.allegrafulton.com . You can also follow her on Insta: Cinesylph Twitter: Allegra_Fulton Previous Next

Back George Masswohl Moving Forward Selfie Joe Szekeres Performing artist George Masswohl has graced Canadian stages in highly charged performances over the years. I had the opportunity to see him play opposite Fiona Reid in a solid production of ‘Sweeney Todd’ at Canadian Stage. A little tidbit of information I also discovered. George sang the title role of ‘Sweeney Todd’ off stage for Vancouver Opera at the Queen Elizabeth Theatre when the actor playing the titular role developed vocal issues. Wow! I applaud George’s dedicated professionalism to ensure a quality production for the entire community. Recently, until the pandemic was declared, George also appears in some little play in Toronto with packed houses called ‘Come from Away’ where he plays Claude, the mayor of Gander, plus other roles. By the way, the Toronto company is extraordinarily wonderful, so if you haven’t seen this production make sure you do when we can all return. I’ve had the opportunity to interview some of the Canadian and Broadway cast members for this column, and ‘Come from Away’ is one show I do want to see again. George is also a member of The ROWDYMEN, a band dedicated to the preservation and the propagation of the vibrant music of the people of Newfoundland. Hopefully, the band will play somewhere in Toronto when it’s safe for all of us to return. I also discovered from his Facebook page that George studied English Language and Literature at my alma mater, The University of Western Ontario (Go, Stangs!) Excellent choice, by the way. We conducted our conversation via email. Thanks for the conversation, George: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? If I’m being perfectly honest, I feel differently from moment to moment. As things drag out, and confusion reigns, despair and hope come in waves. But so far, I’ve always managed to come back to hope. I renew this effort every day. That is my current way of living. I’m keeping it in the moment. How has your immediate family been doing during these last eight months? It’s been tough on my family. My partner and stepson and I have all been shut down. She is a dancer and yoga teacher and he was working, variously, as an usher at the Royal Alexandra Theatre, at an escape room business, and at the Beer Store – which is a filthy job in an environment where most patrons seem to be non-compliant vis a vis Covid protocols, and management less than vigilant. Almost all of these have become impossible for me now. Beyond our household, it’s even tougher. My sister struggles with the new difficulties in her already difficult work as a counsellor at a women’s shelter and with caring for our 90-year-old aunt, who lives with her. In addition to all of this, we are still in the aftermath of having lost our mother last year after a long and difficult series of illnesses. Having said all of this, we are remarkably upbeat and, as mentioned above, fiercely committed to coming back to hope, finding the joys where they can be found…and doing our damndest to incorporate fun into our days wherever we can. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? The part of me that thinks it’s over…that 35 years of constant hustle has come to a dead end. Watching my colleagues, all at different phases in their journeys, going through similar angst. Trying to imagine, at age 53, what I’ll do for the rest of my life if that part of me, heaven forbid, is right. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? I was working on recovering from hip replacement surgery to return to my cherished community and the role that I love in the Canadian company of ‘Come From Away’. What have you been doing to keep yourself busy during this time? I have been working with my band, ‘The Rowdymen’ with Greg Hawco and Gerry Finn. It has been a saving grace for all of us. Not a money maker at this stage, but it has kept me creative, and for that and them, I am very grateful. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty? I think it’s best for me to defer to their wisdom and ingenuity. The smart money in this business has always subscribed to the credo that the best way to ensure your employment is to create your own work. If they were to ask me for advice, I think I’d offer that up, and encourage them to do whatever they can to reimagine and rebuild the industry. I’d also pledge to continue to do the same – and pledge my support. Do you see anything positive stemming from Covid 19? Oh, well, there has to be something. Can I tell you in a year? Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? You better believe it. Many theatres, like many other small businesses, have shuttered forever. Our associations are tapped out and struggling to maintain relevance in a desert landscape. Funding is stretched beyond previously imaginable limits. Our artists are suffering immeasurable psychological stresses. On top of it all – and not surprisingly as it has ever been thus – much of the rest of society seems blind to the connection between the content they voraciously consume and the value of the artists who create it. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? I’ve been involved in quite a bit of it, mostly as fundraising for various entities struggling to survive. I’m not sold on it as a vehicle for theatre. We need communal experience…book clubs, concerts, poker games, choir, sports, church, THEATRE. Having said that, I’ll be involved in a live stream on Boxing Day. Stay tuned. 😉 Despite all this fraught tension and confusion, what is it about the art of performance that Covid will never destroy for you? My creative spirit. The fire of creativity in me is burning hotter than it ever has. I went through a bunch of years where, for various reasons, I didn’t care about anything. I was telling everyone I was retired – and they were starting to believe me. But even through that, I was, somehow, able to preserve an ember to carry forward. I never really know quite how, but I know that I have an undeniable drive to survive. My creativity is at the centre of that flame. To learn more about The Rowdymen, visit their Facebook page: The Rowdymen, Twitter: @TRowdymen Instagram: @The_Rowdymen Previous Next

Back Chick Reid Moving Forward David Cooper Joe Szekeres Chalk one up for Durham Region. I had no idea performing artist Chick Reid lived and grew up in Ajax, Ontario, and knows many of the same spots that I do in Durham Region. Chick completed her theatre training at Queen’s University in Kingston, Ontario. Other selected theatre credits for her include Stratford Shakespeare Festival (Matchmaker, Cymbeline, Grapes of Wrath, Little Years, Comedy of Errors, Ideal Husband, Noises Off, No Exit, Troilus and Cressida, Much Ado About Nothing, High Gravel Blind, Eternal Hydra, Merry Wives of Windsor, Country Wife among others); Theatre Plus Toronto (Abundance, Holiday, Hamlet, Burn This, Scapino, Marriage of Figaro, Crimes of the Heart, Dora nominee); Shaw Festival (The Woman, Cavalcade, Peter Pan, Marathon 33, War and Peace); Neptune Theatre (The Goat); MTC (Steel Magnolias, The Sisters Rosenzweig); Grand Theatre (Helen’s Necklace); Actors’ Theater of Louisville (Heartbreak House, Anton in Show Business); Broadway (Much Ado About Nothing). She is a recipient of the Tyrone Guthrie award. What an extremely enjoyable and delightful chat I had with her via Zoom. Chick has been teaching at Queen’s University in the Drama Department for 16 years. She and her husband, Tom McCamus, live in Northumberland County where they raise Nova Scotia Duck tolling retrievers. Thank you so much for being a part of the conversation about theatre in a post Covid world, Chick: It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion? I’m feeling, in spite of everything, I’m feeling hopeful. I’m not getting anxious about it like I’m not hoping it’s going to happen in two weeks or even two months. But I’m feeling hopeful that there will be a vaccine and it will be effective. I’m really hopeful that the long-term effects of this on people’s home lives, finances, work situations, doesn’t go on for ages and ages and ages. I don’t have an end date in my brain, but I hope the long-term effects of this aren’t too horrible for so many people that stand to lose jobs, who have lost jobs, stand to lose homes. If I think about all this too much, I get on the despair bus, but I’m hopeful it will get sorted. But I’m also really hopeful that people will do what they’re being asked to do to help. I don’t think the vaccine is the answer in the meantime. We have to look after ourselves and look after each other, right? Emerging to some new way of living is further ahead in the distance to tell you the truth. I’m not so disappointed in some of the changes that have come about, that have had to come about because of Covid. It pleases me to see people really looking out for people. Maybe I’m more aware of it now because of this pickle that we’re all in together. I like the enforced quiet time that I think we all, everybody, in every walk of society, creates and needs. We rarely can give ourselves that. When quiet time becomes a luxury, there’s something not very right. I would like that to continue for everybody. There are some people who don’t have quiet time right now because they’re scrambling at three jobs when they had one good one, and now they may have three part time jobs, especially in our profession and the ‘in between’ times. I like planning when I go into town as it makes us all a little more mindful. You mentioned about Lucie Arnaz and how she said that perhaps we may not be back until at least 2022. On many levels, I bet she’s right. There are a lot of things that won’t be back in the form that we know of them right now. It might be a new form but the way we knew them in our profession, I have hope for it, of course, because it’s so necessary for everybody that we can get back to listen and tell stories. How have you been faring? How has your immediate family been doing during these last eight months? I have to say that I think I’ve been faring pretty well, actually. I’m a lucky one that I share my life with Tom (McCamus) so I haven’t been alone. I feel so lucky to be at home. We have a little log cabin just north of here and we rarely get a chance to use it when we’re working so we’ve had a chance to have a good couple of meaningful lake time opportunities. That was great. Emotionally, it sometimes hits me. What makes me upset (and it’s not what we’re going through now) is the thought when we get back into the rehearsal hall and a room full of people that we love. That makes me a bit weepy. I don’t pine for it but it’s going to be so momentous for everybody, don’t you think? I can’t even begin to imagine what it’s going to be like when we make that first entrance on to the stage when it’s safe to return to the theatre. It makes me tear up. It’s going to be overwhelming. Will we even get through that first performance? That’s okay, at least we’ll all be in the same damn room. (Chick laughs and so do I) I miss my immediate family. That has been hard on me, I have to say. I have four siblings under me. They’re all married and have children and grand children and we’re a pretty tight family. So I miss that. This year, I was supposed to host Christmas, my whole family, and every other year is the in-law family celebration. Christmas was meant to be here this year and I was supposed to have a house full of 30 people from toddlers to older people. Obviously, that won’t be happening this year, and I’m going to miss that. My immediate family are all healthy and everyone is behaving. My siblings have children and grandchildren and that’s their bubble so they’re not losing contact with their family. We definitely miss each other as siblings but they’re all well. One sister moved back to Scotland a year ago and I was going to see her there after my semester, so that bothers me I can’t go and see her. Two of my other siblings are recently retired and they’re doing fine. We’re lucky. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? I think they’re tied for me. I’m sorry that we didn’t get to do the plays we were supposed to do this summer. We were all looking forward to it. Personally, I miss my friends so much. I have dear friends at Stratford that I won’t be able to go see perform that I would have done had I been at Shaw. And I have dear friends at Shaw – these are people whom I love seeing every day and love spending time with them. We’ve had a couple of Zoom calls when them, cocktail Zoom calls which is lovely. Everybody gets so busy with nothing to do, isn’t that weird? I miss going to work and seeing my people. When I was asked to teach my acting courses online at Queen’s University, I thought, “Uhhhh, okay, I’ll bite and put my hand up and see what I can do.” I asked for permission to go and teach from my studio so that I can go to work every Monday. And they gave it to me. So, all the protocols are in place at the Isabel Bader Performing Arts Centre. I’m teaching live on Zoom from my studio. I drive to Kingston, so I really like that. It makes me feel as if I’m actually doing my job. 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? It was Monday March 16. Tom and I were in the same play, ‘The Devil’s Disciple’ at Shaw. It was our first day of rehearsal. We drove down to Niagara on Sunday, unpacked, left the dogs here for the week with our friend who looks after them. We just packed a week’s worth of clothing as we knew we would be back. We went to rehearsal March 16 at 10:00 am, walked out of the theatre at 11:15 am, and we haven’t been back. So, I’m sorry we didn’t get a chance to do those plays, but I have every hope we will get a chance to do them. The plan is to go ahead with these productions next summer. That’s hopeful given everything else that people are still moving forward. I think that’s fantastic and that makes me happy. Although we were sent home that day and everything closed, we carried on because there was insurance through Shaw. We carried on rehearsing ‘Devil’s Disciple’ and Tom and I started rehearsals for the second show that we would have performed at Shaw just this past summer. Tom was to perform in ‘Desire Under the Elms’, and I was to perform in ‘Sherlock Holmes: The Raven’s Curse’. We continued in rehearsal for all four of these plays online until May 12. What have you been doing to keep yourself busy during this time? Tom and I have been raising puppies. They’re due to go to their new homes in the next week or so. I’ve been teaching at Queen’s University in the Drama Department and this is my 16th year. My semester was over in a couple of weeks. But I go right into elf mode. As soon as those puppies are gone, and yes, I’ll shed a tear as I always do, but I’m right back and ripping open the boxes for those Christmas decorations. I love reading murder mysteries and having a cup of tea if I’m looking for lovely entertainment. But you know what, our deal when we get up here every morning. We deal with the dogs. Tom does his thing. I do my cryptic. And then both of us read for half an hour and then our day starts because we know we won’t be able to sit down again until the end of the day. I love reading. And that’s our routine around here. But when I’m on contract and start rehearsals, I don’t read a book for the whole season. It’s as if my brain tells me that I’ve got too much else to fit in there and there’s no room for a book right now. I think I read two books throughout the entire pandemic. Isn’t that weird? It’s like I’m in a work mode and I can’t pick up a book in the morning. 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? To my students I just keep telling them to go forward because there is somewhere for them to go. They can go forward. It may be a glitch, but everyone is in the same boat. No one is going to be left behind. My students are worried about graduating because they’re meant to graduate this year. And I tell them, “And what if you don’t? It’s okay as others are also in the same boat as you. Literally, you’ve got your whole life in front of you.” For younger actors, I tell them to just hang in. You’ve got it all in front of you. This isn’t going to disappear for you. The older actors, I find, they’re in a real pickle because such maturity comes to you at this age as an actor. You’re so ready and you’ve just got to hang on to it. Find something in the interim that makes you happy. I really do believe it will come back. You have to go forward as if there is somewhere to go. Do you see anything positive stemming from Covid 19? I think if people can hold on to those moments of quiet. Hold on to those moments of “I’m not going to look at the clock today.” I’m going to go through my day, hour by hour as it unfolds. I think there’s something positive about this notion if they are in a position to do this. It’s easy to become unaware of a bigger picture when you’re in a rabbit hole of whatever your job is. It’s hard to easy lose sight of this bigger picture and become unaware, and I think for a lot of people this has reminded us that we are part of something really, really big. And that’s a good thing. I hope we stay aware of the world that Covid has made us become. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? It’s going to change the way we look at being in those big places with those numbers especially if you’re at the Festival in Stratford where it’s 18+, 11+ at the Avon, and 8+ at the Festival theatre in Shaw. I don’t think it’s going to be once everyone gets the vaccine, okay now it’s time to cram together again. I don’t know what they are yet, but Covid will bring a lot of artistic opportunities that are going to crop up because we have to do it a different way. That will be an encouraging way to look at things that we haven’t looked at in the same way in the past. It’s going to take a long time for it to be what it was, if it ever will be what it was. 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? You know what, I think those artists that want to stay creative in their chosen field and have the technical skills to tell a story online, I think it’s fabulous for them. It’s not a route I would take because I probably wouldn’t be very good at it frankly. I think these artists who are providing an opportunity for people who are hungry for a creative experience and be part of it are providing a great service. If they can find a way to be compensated for that service that’s even better. I don’t know how these online and YouTube projects and compensation work. I think it was great Stratford aired those projects at the beginning of the pandemic. We were compensated for them at the time and that’s what we signed on to and that’s what was meant to be done. In the early days of the pandemic, Shaw provided online cabarets for their patrons and that was lots of fun. There are questions that need to be addressed concerning compensation both from Equity and ACTRA standards. Tom and I were going to be a part of The Foster Festival in St. Catherines. I love Norm Foster’s work as it makes me howl. We were lucky enough to be chosen as part of 12 married couples and we were each going to be sent to different restaurants in parts of the city in the Niagara Region and read this play called ‘The Christmas Tree’. The play is hilariously funny and Tom and I can’t even get through it without losing it through laughter. It was going to be safe in each of the restaurants as per protocol standards. Tickets were being sold for a dinner and show. It was an Equity contract since Shaw is an Equity company. We were going to rehearse online, show up, do the safe social distance dinner and play thing and leave. Two weeks ago the decision was made to cancel it, and rightly so since the numbers are up. What they’re going to do now is we’re still going to rehearse online and it’s going to be recorded so people can buy tickets to see the recording. So now, it’s not really an Equity issue but an ACTRA issue since we’re being recorded. I’m just going to go do it since I’m a member of ACTRA. If I’m told it’s allowable, I’m just going to go ahead and do it. Despite all this drama, tension and confusion, what is it about the art of performance that Covid will never destroy for you? My love of it. (I can see tears welling in Chick’s eyes on the screen as I truly believe her). I never get tired of being in the same room with a bunch of people who are all there for the same reason. They’re there to tell the story and together in that big, beautiful room and my love of performing in telling a story will never go away for me. Previous Next