A talk with a professional artist about their career. Back Michaela Washburn Moving Forward Denise Grant Joe Szekeres Before I interviewed Michaela Washburn this morning, I had to go back and see how many performances I’ve reviewed where she has appeared. I counted five and I think I might be missing a couple. Personally, I have never forgotten how powerfully visceral her performances have been on stage, particularly in three productions: ‘This is How We Got Here’ at the Aki Studio, ‘Almighty Voice, and his Wife’ at Soulpepper, and ‘Guarded Girls’ at Tarragon. Michaela hails from Alberta and is a proud Métis artist of English, Irish, French and Cree descent. She is now based in North Bay, Ontario. Michaela’s expertise spans theatre, film, television, hosting, writing, spoken word, clown, improvisation, workshop facilitation, and stand-up. An award-winning actor, Washburn also has multiple nominations - most notably, for the Ontario Arts Council’s Indigenous Arts Award and the K. M. Hunter Artist Award for Theatre. She has performed internationally at festivals and theatres in Wales, Aruba, and across Canada and the United States. She studied clown with John Turner in 2001 and graduated (on scholarship) from the Second City Training Center in Toronto, in 2003. Outside of that, and various workshops along the way, the learning of her craft has been primarily experiential. Her post-secondary studies in the late '80s were in nursing and, during the course of our telephone conversation, I discovered she had also been a high school guidance counselor. It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? Like many folks, I too have had my ups and downs during these last five months. There have been days where I feel confident and hopeful about the future, and there have been other days where it has been almost impossible to feel anything beyond grief and despair. As my chosen career and the whole industry of live performance has come to a screeching halt, I realize now, that for me, it is a matter of acceptance, and adjusting to the situation by focusing what I can do versus what is beyond my control. Were you involved or being considered for any projects before everything was shut down? I was booked from March – December 2020 from Banff to Victoria to Winnipeg. It was to have been my first time in Banff as part of the Indigenous Playwrights Circle followed immediately by the Banff Playwrights Lab. There would have been an intersection with many international artists and the incorporation of several languages within the work. It was to be a highlight of my year, and unfortunately, all of that work is now gone. I have a Great Aunt who is turning 94 this year, and so I also had plans to visit her in Vancouver and record an interview with her. She is one of the last of her generation and holds so much knowledge of our family’s history which I was hoping to capture on film. Describe the most challenging element or moment of the isolation period for you. I was living in a basement apartment in Toronto and was finding it incredibly isolating and increasingly difficult to get outside. I was often anxious, as when I was out for walks during the day, I began to notice less and less physical distancing and few people in the area were wearing masks. There was a small backyard but a family with a toddler lived upstairs. I understood completely that the backyard was the only space where the child could safely play, and I didn’t want to jeopardize that. Since then, I’ve moved out of the city, which has helped a great deal. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? I am one of the Ontario Councillors for the Canadian Actors’ Equity Association, and I serve on several committees as well. There is a great deal of advocacy work being done which has been keeping me busy during these last five months. I was also one of the folks who recently stepped forward to help coordinate the online panel discussion and subsequent take-over of the Stratford Festival’s social media platforms for the Indigenous community in June. I felt proud to offer messaging reminding us all to be kind and patient with ourselves and one another as we navigate this extraordinary time. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? For all performing artists who have been affected by COVID – 19 – remember that storytelling is intrinsic to our well being. It is a practice that has seen humankind through many a disaster before and we will find a new way to experience live performance once again. To the new theatre graduates: Trust. Have faith in your dreams and in the gifts you carry within you. They are your medicine. Art is love, and love heals. If you have a dream and are driven to do it, then you’re meant to do it. Trust that. Dreams may also shift and change, and to lean into that rather than fear it. All things happen for a reason. I firmly believe that. Do you see anything positive stemming from this pandemic? As I can only speak for myself, this giant pause has offered me the opportunity to re-evaluate what’s important and to examine closely the impact of my choices on my personal health and balance, that of my fellows, the earth, and all the creatures we share it with. It has revealed many areas that desperately require immediate attention, socially and environmentally, and has reinforced that we need to work together to practice more respectful, responsible, and sustainable ways of being. Identify the actions we can take, and then take them. In your informed opinion, will the Toronto and North American performing arts scene somehow be changed or impacted on account of the coronavirus? For sure. There is so much to consider for the safety of everyone when we return to our theatres from the actors and crew to the audience members. Safe social distancing will be paramount when we first return, and I believe that the inability to fill our houses will have a significant impact on revenue, and thus whether or not some theatre companies will even survive. All artistic teams are going to have to get creative and innovative. In fact, several conversations have already begun across the country, to discuss how and what protocols and procedures will need to be in place, and who will be responsible for their implementation and maintenance. But we’re creative folks! It’s what we do. dream and build and manifest..so I have total faith that we will find our way. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? I’m not personally interested in participating in live streaming, although I am happy for those who have found expression there helpful. I imagine that it may become part of the performing arts scene, and in fact, think that folks will continue to be creative in how they adapt their crafts. For me, I feel like what’s missing in live streaming is the conversation that is at the heart of live performance… sharing the same space and time together. I am happy for folks who are enjoying the online medium, but if I am to work digitally, my preference is to do so in film and television. What is it about performing you still love given all the change, the confusion, and the drama surrounding our world now? I love the transformation and resiliency which is the crux of being a good storyteller. We have the ability to adapt to whatever situation in which we may be placed, and we must hold fast to that and remember that these are transferable skills. As storytellers, I love that we are able to utilize life as a toolbox from which to build an imagined reality, and in this case, an entirely new one. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite sounding word? “Chum” – not what you throw in the water to attract sharks. ‘Chum’ is the word I use to refer to most of the people in my life. It’s a term of endearment that I love to use. b. What is your least favourite word? Hate. I try not to use that word at all to the best of my ability. c. What turns you on? Kindness d. What turns you off? Aggression. e. What sound or noise do you love? The laughter of children f. What sound or noise bothers you? Crying children whom I can’t comfort or the suffering of others over which I am powerless to help ease. g. What is your favourite curse word? “Shitballs” What is your least favourite curse word? In the spirit of my mom, I’d love to eventually surrender vulgarity altogether. I remember reading somewhere “The absence of profanity will offend no one” and I really like that idea. h. What profession, other than your own, would you have liked to attempt? I often miss the work I did with the youth as a high school guidance counselor, and many times have considered becoming a therapist. I would also like to become a skilled tradesperson, as I believe things like carpentry, painting, drywalling, and home repair are important skills to have. i. What profession would you not like to do? Taxidermy j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “You rose to your name, Shining Light, and left the world a better place for it. Now come, your ancestors are eager to dance with you.” To follow Michaela, visit her Twitter: @themichaelaw Facebook: Michaela Washburn Previous Next

A talk with a professional artist about their career. Back Mumbi Tindyebwa Self Isolated Artist --- Joe Szekeres Obsidian Theatre’s new Artistic Director, Mumbi Tindyebwa, has a great deal on her plate right now, but I am extremely grateful that she took a few minutes from her busy schedule both for Obsidian and her family life to be interviewed for this series. OnStage Blog has had the opportunity to review four of Mumbi’s outstanding productions: ‘Trout Stanley’, ‘The Brothers Size’, ‘Ma Rainey’s Black Bottom’ and ‘Oraltorio: A Theatrical Mixtape’. These were fascinating stories with outstanding performers. Congratulations and many blessings to you, Mumbi, from all at OnStage Blog in your new role as Artistic Director. We conducted our interview via email: It has been the almost three-month mark since we’ve all been in isolation. How have you been faring? How has your immediate family been doing during this time? It’s been a wild time. We have two little ones at home, so a large part of my focus has been on them and trying to keep them engaged plus homeschooling. My husband’s work was deemed essential from the beginning of the lockdown, so I have taken on most of the childcare and household work. On the bright side, it has been super sweet and special to have this uninterrupted time with my children. When Ahmaud Arbery was killed, then Breonna Taylor and George Floyd, and Regis Korchinski-Paquet, the isolation changed from a somewhat reflective time into a time of deep re-traumatization. It’s been a triggering time for my family. My husband and I are raising a Black son and a Black daughter, so the layers of navigating the continued racism towards Black people at this particular time has been heavy. As a performer, what has been the most difficult and challenging for you professionally and personally? Throughout the last three months, I have been having meetings with the staff at Obsidian in preparation for starting my role as Artistic Director. I have missed being able to meet in person and getting to know each other in this new capacity face to face, but we have all adjusted and gotten used to the Zoom world. It’s also been extremely difficult to talk about the future when things are so uncertain, even more as an incoming Artistic Director trying to learn the workings of an organization. I am at a place now when I have begun to embrace the uncertainty and have a sense of acceptance of the moment we are in. 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? When everything shut down I had just opened a student production of We are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Südwestafrika, Between the Years 1884-1915 by Jackie Sibbles Drury at University of Toronto Scarborugh Campus. We were super lucky that we managed to have three public performances before the run was cut short. I was also set to direct Sizwe Bansi is Dead by Athol Fugard at Soulpepper in the spring and had just started to dive deep into preparations for the show before we learned that it would be cancelled. I had another project that was scheduled to open in September that has also recently been cancelled. There is no guarantee of either of these two projects seeing the light of day at this point. What have you been doing to keep yourself busy during this time? Children! I don’t think parents have an issue with being bored during this time. Besides being busy with the kids and all the household stuff — I feel like I am constantly cooking —I have also started paying attention to my health in a way that I hadn’t before the pandemic. It’s definitely been a real opportunity to zero in on some other areas of my life that needed some extra love. I have also been actively preparing for my role at Obsidian which has included reading plays thinking about programming future projects. I have also been in many meetings with my colleagues in the industry, especially fellow artistic directors to discuss the time we are in and the unique challenges our organizations are facing. 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? Go with the flow. Be kind to yourself. Be patient with yourself. Read plays, read novels, listen to music. There are also a lot of masterclasses being offered online if you want to advance your skills. I also think it’s good to avoid too much time on social media. Connect with nature if you can. Do you see anything positive stemming from COVID 19? Dismantling of structures of white supremacy. That would be something. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? I keep longing to return to normal in terms of theatre as I know it. My husband works in tech and he said to me the other day when I was talking about us doing work for digital platforms that theatre is the antidote to technology, so basically, why should theatre artists rush to produce work for digital platforms? I thought about it and I have been thinking about it and I do believe in my core that the purity of the live theatre performance exchange and the human longing for that will not be changed because of COVID. What I hope for is that the stories that we tell will change; that our audiences will change; that the way we make theatre will change; and who is making theatre will also change. And maybe there will be some hybrid performance practices that emerge from the digital experimentation we do now that we will all benefit from as an industry. Previous Next

A talk with a professional artist about their career. Back Michael Cerveris Moving Forward Zack Smith Joe Szekeres The Zoom conversation I held with two-time Tony Award-winning actor/musician for ‘Assassins’ and ‘Fun Home’, Michael Cerveris, was compellingly informative, and I was taking in as much as I could. Michael put me at ease so quickly that I felt as if I was having a virtual cup of coffee with him and, at one point, I imagined he got up from the table, went to the imaginary urn, and poured me a second cup all the while just speaking calmly and comfortably how the worldwide pandemic has led him to take stock of where he is at this point in his life, and where he is headed next. He was visiting his father in Pittsburgh when we had our conversation. I’m assuming Michael was speaking from the living room at his father’s home, and the scene was quite idyllic. There was a beautiful ray of sunshine through the glass pane where Evangeline, the puppy he rescued from the Louisiana/Mississippi border, lounged quietly on the sofa in the sun’s warmth. The first time I saw Michael on stage was in 1993 in his Broadway debut of ‘The Who’s Tommy’ as the Pinball Wizard of this energizing rock opera. I went back later that year with a friend to see the show ‘cause it was so damn good. The next time I saw him on stage was in ‘Titanic’ and the third time was in the revival of ‘Sweeney Todd’ where he played the demon barber opposite one of the grand dames of the New York Theatre, Patti LuPone. Yes, this interview is lengthy again, but I didn’t want to miss a word. Thank you again, Michael: It appears that after five exceptionally long months we are slowly, very slowly, emerging to a pre-pandemic lifestyle. How has your daily life and routine evolved as a result of this emergence? It’s been up and down, I think, like it is for everybody. I’ve gone through different stages of dealing with things. I think we all expected this to be a shorter event early on, so there was the initial panic and anxiety but a certain amount of excitement (I suppose you could call it) because everything was new and urgent feeling. It was quite frightening being in New York at the beginning stages because it was very dire there early on. Fortunately, New York is one of the safer places to be in America because people took it seriously early on. I wish the rest of the country could have recognized and learned from our example just what’s possible when you do take it seriously immediately. Since those early distance days, like everybody, I started to settle into this new way of existing. There are benefits in some ways to stopping the forward motion of your life and taking stock and really asking yourself which things essential, and which things are not. I’ve been trying as much as possible to use the time well and prepare myself to be a better person in a better place, when this is over or when we’re at least on the other side of it. I’ve never had so organized clean closets and dresser drawers and basement in my life. Right now, I’m going through boxes in my father’s basement that I’ve left there for years, and that he’s been asking me to go through for years. And that’s been great fun as I’ve been discovering all kinds of terrific things, posting photographs from my early performances as a boy growing up in West Virginia. That apparently is the most entertaining thing I’ve done in decades for people as they are seeming to enjoy it a lot. My Facebook and Instagram feeds are full of people enjoying my embarrassing younger photos. So at least I feel like I’m doing something good for the world right now. I’ve also spent a little bit of time a little further upstate at one point during the pandemic, and I do recognize it’s easy when you aren’t living in a close urban environment, like New York, to feel that the threat isn’t quite as urgent. When you quarantine in an apartment and have to wear your mask even to walk down in your building to get your mail, it’s a different kind of thing. When you see refrigerator trucks with bodies in them because there isn’t room in the morgue, it makes it clear how serious you need to take it. It’s difficult when you’re quarantining in a house with a yard, when you can walk along the street in a suburb without a mask, because you aren’t going to be encountering people close enough to necessarily have one. I do understand how difficult it is to impress upon people the seriousness and reality of the disease’s spread, and we’ve seen the consequences of that throughout the US, especially now in people not believing it or not taking it seriously. Of course, the numbers start increasing in those areas. It’s the benefit and the curse of living in a close urban environment, but I’m really proud of how New York and New Yorkers have responded. It really has been a real blessing to have the kind of leadership and the science-based thinking in the state and local governments that we have. Hopefully, that will mean that we can continue the course we’re on and think about opening theatres in a safe, responsible way at some point. It’s really difficult for all of my live performing friends, and hundreds of thousands of people who aren’t directly on stage but are affected with the closing of the theatres. A lot of the city’s economy is dependent on that business surviving, and it was one of the first to close in order to keep people safe, and it’s going to be one of the very last ones to re-open. There’s no discussion yet for serious plans for live entertainment venues to re-open anytime soon, even though some jobs are re-opening hopefully slowly and carefully. In my business, people are sometimes hanging on by a thread in the good times, so it’s really a challenge. We’re trying to encourage our government to extend subsidies to venues and to our live performers and it’s been an uphill battle. Were you being considered for any projects or involved in any projects before everything was shut down? Not on stage, I had a film project and television project that were both supposed to happen in March and April. They tried re-scheduling the film about four times. One time I had my car packed and driving to where we were supposed to film, and I got a call saying, “Ohhh, we’re not going to be doing that now.” So, that’s indefinitely postponed but hopefully, it will happen at some point. There is a television HBO production project that I’m going to be a part of that is planning to start work in late September if all goes well. And they have a well thought, organized set of plans to do it in a safe and manageable way. Hopefully, that will be happening and will be a long-term project. I can’t tell you what it is right now but it’s gonna be kind of terrific, and it involves a lot of New York stage actors. That will be a helpful thing. What’s been the most challenging element of this isolation for you? It would be really training myself to just exist in the present moment and not be making plans and feeling like I need to do things. It’s funny, I’ve been saying for the longest time that I’ve wanted to slow down and wanted things to stop. I guess, be careful what you ask for. So many of my friends and colleagues immediately jumped in and got into busy mode with self-creating projects. They were doing lots of camera and Zoom meetings and projects. I found myself busier while not working than I was working. Everybody had a podcast or a benefit performance they wanted to contribute to. I wanted to feel engaged and wanted to contribute something. The most challenging thing, to answer your question, is considering what my usefulness is in a time when our understanding of who an essential worker is has changed overnight. The immediate feeling was, well, maybe what I do isn’t really essential, and we like to think of ourselves as essential to society, and the arts are an essential part of society. An immediate crisis like that maybe those skills are the ones that aren’t most necessary. This can leave you feeling a little useless and superfluous. I had a lot of friends who became teachers and they were struggling for ways to provide service to their students so they would ask me and lots of actors to come visit their classes virtually and talk to their students. I thought, “Well that’s something that I can contribute to and positively offer something.” And then there were lots of other projects like the Sondheim Birthday streaming that went a long way to help reach people in isolation and make them feel a little connected still to things that brought them happiness and pleasure. I said yes to everything and found myself exhausted. I was busy doing things all the time and my friends who were saying they were bored in quarantine I kept wondering how is that possible? It’s different for everybody. Do you believe theatres might be shuttered until at least the fall of 2021? That seems a viable possibility. It’s difficult because there are so many layers to the question of when theatres can re-open. And this may be an opportunity for Broadway and large-scale commercial theatre to do some re-thinking and considering the economics of theatre. This is something I thought back in 2008 with the financial collapse and really threatened Broadway and you heard people wringing their hands and saying, “This is going to kill Broadway.” My thought was maybe this would make producers think differently of how they produce things to make them more affordable to more people, but instead, the opposite happened. Broadway got more expensive and business was better than ever. With a Broadway production, it can’t function at a 50% capacity. Broadway shows that are doing well in the 75% capacity range close all the time because even that is insufficient to keep them going in the business model the way it is now. My hope is the opportunity to re-think that and where the money is going. More money should be spent on people who are working for you than on things, on spectacle and re-think profit margins while thinking about the comfort and safety in the seating area for the audience. In some ways, downtown, regional, off-Broadway theatres that consistently find ways to operate with ticket sales at 50% with grants and sometimes don’t fill the houses are able to survive, and perhaps this something that the larger theatres may have to re-examine again. This might be the way things can re-open. The arts in general have shown an ability to adapt and change when it’s necessary. They just tend to drag their feet for as possibly long as they can. The theatres need to be more pro-active and forward-thinking rather than reactionary and responding to events, especially with the social justice movements going on right now and the technological advancements. The combined moments of social conscious awakening along with the pandemic crisis has been a real opportunity to shake the dust off these things and to get more people involved with new ideas about what is possible. Hopefully, that’s what’s going to happen. Equity is dealing with a case by case decision on whether or not to open a show given what the theatre is doing to ensure safety for all involved. It’s a challenge in so many ways, but this piecemeal show by show thing that different producers will have different ideas on how to do things might delay re-opening even more. The history of commercial theatre isn’t a well-organized machine. Any words of wisdom or sage advice you would give to other performing artists and recent theatre graduates who are concerned about Covid-19? Well, that’s always been a difficult question to answer and now it’s really difficult. I’m encouraging people to take heart and to take advantage of this time to be reading a lot of plays, watching a lot of things, and educating yourself. You can be writing and developing projects for yourself, talking to friends, and just try to imagine the theatre that you want to see when it’s possible again. My major words of encouragement: The fact that so many things we assumed to be true suddenly are not and things that could never be suddenly are (live performance could shut down for 6 months or longer). The positive side of all this? A lot of things that we thought could never change could now possibly change if there’s a will. That’s kind of exciting. I grew up with the idea that things are the way they are whether or not I liked it or not. We’ve seen now how immediately and completely things can change. Drastic change can happen if people do things differently. I think in some ways it’s an exciting time to start a career in the theatre. If we’re making things over again, we should be making things that contribute more to our society and to our communities by giving more opportunity to do something new. That’s the place to look for hope and encouragement. Do you see anything else positive coming out of the pandemic? In my country, I see the potential for a positive regime change, although it’s anything but assured, I’m afraid. I don’t think of myself as an optimist generally, and yet I think I fundamentally am. I fundamentally want to believe the best of people and the best of situations. I’m very conscious and very clear about the perils and dangers about the really dark and unpleasant things that have been revealed about the country I live in. It’s not isolated to my country, it’s a global phenomenon but it’s especially heightened here. It’s been really heartbreaking to have to come to terms with the realities of life in this country for a lot of people. To have spent the last four years to have the mask lifted from who we as Americans like to believe we are. But the positive thing is now we know what we’re up against. We know what the real truth is. And again, that gives us the opportunity to change it. We can’t change anything if we don’t acknowledge it to be true and needs to be changed. That goes for everything from economic inequity to racism, sexism. These things are all tied together and incredibly complicated, but just thinking your country is the best with the best democracy, that kind of thinking blinds you to the problems that are there and need to be solved. Well, it’s pretty clear what the problems are and needs to be solved. Whether we can do that or not, it’s up to us, but at least now we know where the work needs to be. Depending on your half full, half empty glass perspective, that can be a positive thing at least a first essential step. Will Broadway and the North American performing arts scene be changed or impacted on account of the coronavirus? People are starved now for coming together. For a long time now, there’s been a move for more isolated kinds of entertainment. We get a lot more through our screens now, and I think we’re getting a little tired of it at this point. For example, I hated Zoom and Face Time before all the shutdowns necessitated them. I would always try to avoid doing them. I can’t say I love them anymore now than I did then, but I’m at least used to them now and see the benefits of them. I think a lot of things will be done through these formats even after things slowly open up. There are good things to that. We’re starting to find the limits of the satisfaction we can get from our screens. Theatre, live performance, even for people who say, “Well, I can get all that on my screen, why bother going back?” Well, I think the first-time people return to the theatre, and that theory is all going to be blown out of the water. They’re going to remember as though for the first time what that thrill is. There’s nothing to make you appreciate something like the threat of losing it or not having it. I like to think and hope there will be more value placed on live performance and interaction. Certainly, that will be true in the beginning and, as humans usually are, will take it for granted again. I look forward to a time when we can take going to the theatre for granted because that would be nice. The arts and theatre have often thrived in times of great social unrest and difficulty. I’m hoping there’s a lot of seeds of great art being sown right now that will flourish when there’s a place for it to flourish again. And I think that is possible. There’s certainly a lot to write about now, not just the pandemic but our very mortality and humanness. It’s fair to hope there will be a re-surging, flowering and a Golden Age of theatre when we’re able to come together again. What are your thoughts about live streaming? The streaming of filmed live productions that has already happened, hmm…maybe it’s because I grew up in the bootlegging concert era, tape your favourite band era. I’ve never had the aversion to those things being available. I’ve never believed that’s made people less likely to go and see something. I’ve always felt that it will more likely make you want to go see something. If you hear a garbled cassette performance of The Grateful Dead, you’re going to be more likely to go. I understand and appreciate the economic concerns and people having their work compensated, so if somebody is making a profit from the streaming of your work then, certainly, that needs to be compensated. There are so many things I’ve done over the years that are archived at the Lincoln Centre Performing Arts Library. It wasn’t the thing to record a show for broadcast back in the day. I do wish those kinds of archives could be accessible to people. It’s very difficult to access those things. You either had to be involved with the production or an academic pursuit to watch them. I would prefer that live streaming not be sold or commercially done. If you do, then you really have to pay everybody which will make it prohibitive. I wouldn’t mind if that’s the way things happen. As far as creating work to be Zoomed or streamed, it doesn’t excite me as an audience person or as an actor. I watched a few earlier on. For the most part, I was disappointed and frustrated, and ultimately not all that interested. There were some things like Richard Nelson has done a series of plays called The Apple Plays, the Gabriel Plays, that were recorded. I would encourage people to go find these plays because they’re really great, but he since has written a couple of Zoom plays and those work well because that’s the premise of the play. These characters are on a Zoom call to each other, so it makes sense that it’s happening as to how it’s happening. I haven’t really seen other things online that I’ve found particularly satisfying. I’ve done a couple of readings and they were really just kind of pale and unsatisfying, the technological challenges are a big hurdle. It’s hard to get any sense of pace when there’s a delay between people’s microphones. I would be more in the camp of “I’ll wait until we can actually do it.” Despite all this confusion, drama, turmoil, and change surrounding our world now, what is it about performing you still love? It’s pretty obvious the live human communal experience of it. Both as a part of an ensemble working together to make the performance and the event of having an audience, the stage crew, dozens of hundreds of people that make it magical, even if it might have occurred only once out of say 500 times. We go to experience with other humans. It’s part of our DNA to gather. Our society has drifted away from that for a long time. It would be nice if this was a bit of a turning point of how much we missed that, and how much we need that. That’s the fundamental thing about performing. Follow Michael on his Facebook: Michael Cerveris Actor/Musician or his Instagram: michaelcerveris. You can also visit Michael’s website: www.cerverismusic.com . Previous Next

A talk with a professional artist about their career. Back Dion Johnstone Theatre Conversation in a Covid World Corey Berry Joe Szekeres ’ve seen Dion Johnstone’s work on stage in several Shakespearean productions at Ontario’s Stratford Festival. I was particularly taken with the very bloody ‘Julius Caesar’ presented by Groundling Theatre at Toronto’s Crow’s Theatre just before the pandemic hit. When I checked his biography from his website (included at the end Dion’s profile), I also discovered he has also been a part of some very fine productions in the US under some extraordinary directors. Dion made his Broadway debut as the Duke of Albany in ‘King Lear’ with Glenda Jackson as the titular character. That is a performance I would have loved to see Ms. Jackson tackle. Dion plays the recurring role of Erik Whitley for ‘Sweet Magnolias’ now streaming through Netflix. Another one to watch during this time of provincial stay at home orders. Dion has also played in other Canadian shows including ‘Frankie Drake Mysteries’ and ‘Flashpoint’. In December 2019, Dion made his Hallmark Movies and Mysteries debut starring in ‘A Family Christmas Gift’ opposite Holly Robinson Peete and Patti Labelle. Dion’s training included The University of Alberta and The Birmingham Conservatory for Classical Theatre. We conducted our interview via Zoom. Thank you again so much for taking the time on a Sunday morning, Dion: The doors to Toronto live theatre have been shut for over a year now with no possible date of re-opening soon. How have you and your immediate family been faring during this time? You know, when the focus of the pandemic hit and we went into lockdown and isolation, the focus really changed for me because my wife and I knew we would be having a child. On July 28, 2020, my wife gave birth to a baby boy who’s now on his way to nine months. That’s been an amazing experience for us. He’s really changed our outlook because we really wanted, especially during the time of great anxiety, for him to meet the best version of ourselves, and I think when you look at him and the level of joy, freedom, comfort and confidence that he already possesses and exudes is a testament to the work that we’ve been doing. We had to get control of our mind space and internal space through all of this. One of the things we focused on right away - there was a meditation group that was going around hosted by Deepak Chopra right at the beginning of the lockdown called ‘Twenty-One Days of Abundance’. And that was the first things we did and thought this is great. With the fear of there being no work and when everything was going to open up again, to just take time and focus on inner work and thinking no matter what the external appearances may be you can always tap into a source of abundance, that’s an energy that you put forth into the world and that returns to you in some form or other. We started by doing that, and that really set the template for our frame of mind through all of this. Despite what we see out there, what’s more important is how you feel internally. If you feel yourself going off the rails, do the work to bring yourself back to your centre. And we want to do that because those are the lessons we want to pass on to our son, especially in a world prior to the pandemic that was moving at a blazing rate and continues. We wanted to help provide a space for our son where in the future he could step away where he can be a part of this world but doesn’t have to be consumed by it. I think we’ve doing quite well, all things considered. How have you been spending your time since the theatre industry has been locked up tight as a drum? I just arrived in Atlanta and can’t talk too much about it for all the non-disclosure agreements I signed. I can say in brief we’re shooting Season 2 of ‘Sweet Magnolias’ (now on Netflix Canada). I just arrived and just about to begin. I’ve done the period of quarantine with the multiple testing and once cleared all set to go. The film industry has been quite progressive in finding the template necessary in order to continue filming. Modifications have been made along with heavy safety protocols, and the film industry has been largely successful. It puts a lot of pressure on the actor/artist to ensure that they are in top health to continue and honour the contract signed and to ensure the shooting schedule is kept on task. Outside of being a new father and career responsibilities, during the early part of the pandemic there was a lot of binge-watching Netflix. Certainly, when our son came into the world, that changed a lot of the binge-watching as he doesn’t allow us to watch tv unless he’s out cold for a nap. But the moment he wakes up we gotta unplug our devices. Our son doesn’t even like us being on our cell phones. Our son calls us to being present. I do try to find time on my own for meditational time through daily training, not necessarily weights since everything is closed. I do yoga, I use resistance bands training. I’ve been doing a lot of yin yoga, very relaxing with deep, deep, tissue work and that’s been good. I don’t get out a lot but now that I’m filming in Atlanta, there’s a park across the street from where I’m staying. It’s similar to New York’s Central Park, and there’s lot of open space and opportunities for social distancing so I can spend some time there. In Toronto, we live across the street from the Harbour on Queen’s Quay, so my wife and I were able to take our son out for walks on pathways. 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 year long plus absence from the theatre as something else? You know, in some ways I would say, yes, it has been an escape, and it’s been an escape from the world in the way that we knew it which has really caused me to examine it and question it. So much of my life is influenced by being a new parent and considering what things might have been were the pandemic not happening. I remember many seasons at Stratford watching other actors become parents. They would get the performance off to go and be there for the birth and would be back on stage the next day in both performances and rehearsals. In Stratford, the week is divided in slots. So, there could be 12 slots in a week, and you could work 11 of those and then they have to give you an extra slot off periodically. That’s a lot of work and you get one day off a week. This period of time I’ve been able to share the load of parenting with my wife; obviously there’s only stuff she can do as the mother but there’s a lot of stuff I can do on the peripheral and allowed me the opportunity to create a very deep bond with my son. I’m adopted. My beginnings were quite rocky. I don’t know my birth father, and my birth mother lost custody of me when I was quite young. So, it’s been really important for me to create a stability and foundation to end that cycle so that doesn’t pass on to my son, and that’s not a reality that he has to know. I think about if I weren’t there, if after the birth I had to go straight into rehearsals, and I only came home at night and wholly focused on preparing for the next day, I would be there physically, but I wouldn’t be accessible to my partner, Lisa, as a parent as all that load would be put on her and I realize how big a load that is. It gets a little bit easier now that he’s a little bit older so me being out of town is a little bit easier. We do have a very good network support and he’s not quite as dependent as he was in the beginning. Those early couple of months, you realize how our world is not geared up for that, not geared up to usher new life into this world. You’re ripped away from your children too quickly, that’s the way of the world. But the pandemic stopped that. It stopped the world and we’ve got a chance to look at what’s important and what do we value. For me, it’s an escape for what it could have been in that sense. On another level, it’s an opportunity to question when it all comes back, what’s the kind of life I want to have, and how can I create a life that gives me more of a balance so that it’s not wholly work heavy. If that means I do condensed periods of time so we can take a couple of months off and go take a family vacation together, I don’t know what that form will be, but making sure I can be there for my family in a big way is very important. 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? Given that we’re dealing with a virus, going in and out of lockdown, and you just told me today the numbers in the province are up over 4400, it’s impossible in my mind to predict when we will be back. I would say 2022 is a safe bet. It could be longer. I think the reality is that theatre as we knew it has changed. And we may never quite see it in that same way again. But I do have hope for what theatre will evolve into. Right now, seeing Stratford and Shaw come back in interesting and careful and limited fashions is a good thing. Both my wife and I worked with Obsidian Theatre and they did a co-production at the beginning of the year with CBC Art called ’21 Black Futures’ which brought theatrical work to the screen. I think that’s another avenue that’s been successfully explored. Theatre isn’t dead. It’s under the ground and working it out and figuring it out what can it do. How can it manage in this period and how can it re-invent itself for what’s to come. My life has changed. I don’t think I’ll be able to walk into my house again without ensuring I wash my hands down. Our experience of the flu may be radically changed in the time to come. Our world is going to be radically different, and we will always be under the reality this happened once, and we reached a threshold where it could happen, and it shut down the world. That’s now a possibility. We don’t know what else is coming, what further things are coming down. We have to be prepared and safe. The excess that we knew may not happen in the same way, but I do think theatre will evolve nevertheless to meet the capacity of the time, whatever that form is going to be. I had a discussion recently with a Toronto Equity actor who said that theatre should not only entertain but, more importantly, it should transform both the actor and the audience. How has Covid transformed you as an artist? That’s so interesting. It’s hard to know as an artist how Covid has transformed me. It’s certainly made me look at different avenues and explore what else I have inside to offer. I sit down and go, well, if I’m not performing on a stage, what’s my purpose? Why do I act? If I can’t do it in that form, what’s another form I can do it in? That led me to explore teaching opportunities. I love to see people empowered and transformed by different thoughts and different ideas. I like being the vessel that can contain those ideas so that people can reflect and see it. I can achieve that same feeling through teaching what I know. Ghostlight Theatre came out of the cage really strong when we went into the lockdown initially and offered an opportunity to teach a class of whatever I wanted. And I decided to put a class together on rhetoric using Shakespeare as a platform to really explore the ideas of ethos, the logos and pathos and the pillars of argument. My intent was whether you were an actor looking to sharpen their skills or an audience member who wants to know more about what the craft is, it didn’t matter what walk of like you came from. In the end we are being affected by messaging all the time and we are being played on intellectually, emotionally, and ethically all the time. You open your Twitter feed and think about what triggers you. Some of the images we see there are pathos, and some are facts and figures that make your brain spin whether they are true or not but present themselves as true. To have the ability to have more discernment about what’s coming at you and more choice as to how you want to play something as an artist, and how you want to play upon your audience, I thought was a very fun thing to explore and share and had been really introduced to me when I was at Stratford doing The Conservatory Program. I give full credit to the knowledge and training I received there, and also from the late Ian Watson who was one of our instructors and was a master of argument. And so, really sharing the way those principles that affected me and how I now use them in my work is how I put together this course and I found that a satisfying discovery, and I probably wouldn’t have done. Covid has created an online opportunity where you can work with people from around the world. I’ve been able to do play readings with a company in New York. People can now be pulled from anywhere say to do the reading of a Jacobean play, and audiences now have access to be able to log in anytime to those writings and artists. It’s really brought the opportunities to use your craft in different ways globally. 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 definitely agree with Ms. Caldwell’s notion of danger. And certainly in performances, something has to be genuinely risked in order for the stakes to be real and in order for the audience experience to be transformative. If there’s nothing happening in the artist, and it’s just acted, then what happens is a separation between the audience and the performer where the audience is just watching you, and not breathing with you and experiencing with you. The more that the artist can access a true feeling of risk and danger, the danger. The best directors I’ve had are those who have really pushed me in my performances to risk more, to go further in order to draw and drop deeper in myself in challenging and frightening work because you don’t know how you’re going to get there. Now, in terms of Covid, it’s a strange thing because it affects everybody differently. Some people have had direct experiences with it, some people have had or have the virus. Others have had close family members or friends pass away from Covid, so they feel differently. Others have had no direct experience with it and haven’t been in an ICU so it’s a challenge for those who do not understand what it like or have the experience with it. Living with this invisible threat which has been very disorienting and weird and certainly frightful on those days when I have to have a Covid test, and I fear if I get a positive result that’s it for my ability to be on set, to provide financially for my family, and my contract is now gone. I really had to challenge myself to ensure that I don’t bring this negative and destructive energy into my reality, well that stop telling that story because it’s not serving me. Yes, fear has been triggered in me on account of this virus but I haven’t had a direct personal case or a family member so I can’t speak of it from that angle. In many ways, it’s been a bizarre thing that’s there, but I respect how many have been affected by it but it’s so strange because it feels like nothing is happening. In terms of how Covid will affect my work? I don’t know. Everything that happens in life is going to affect your work. It filters in ways that we’re not aware of. Sometimes, for an actor, the best problems are solved when you’re working on a role in your dreams when you start to dream about a part because that’s your sub conscious working it out in better ways than your intellect can. I’m sure subconsciously the way I have grown and changed over this period of Covid will bleed and is bleeding into my work, but I couldn’t intellectually say how. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. Has this time of Covid made you sensitive to our world and has it made some impact on your life in such a way that you will bring this back with you to the theatre? Well, certainly in a beautiful way, having a child and we made a real commitment to validate his feelings to recognize, acknowledge and understand what his needs are. Even though he doesn’t have the language to communicate just yet, we wanted him to feel that he was being heard and responded to. In a way, he’s been very communicative from the very go. There is this thing called baby sign language and you can help them communicate early in life. We tried that and that didn’t really work for us, but we can feel his energy and been in communication from go. He doesn’t cry very often. He’s not a crier but when he does it’s because we’ve missed a lot of signals that he’s been given along the way. More often than not, we’re able to figure out those signals before the crying so that is something important to figure out. Just that level of sensitivity, that relationship we share with him is so profound, so unlike; I love in a deeper, fuller way than I have before. I’m fiercely protective in ways. I laugh. This kid makes us laugh. He’s brought so much to our world and that’s a beautiful thing. Looking at this world through the pandemic, I’ve become really sensitive to the messaging that comes our way. There’s so much confusion. I’ve never learned through anything where there have been so many mixed messages – lockdown versus lockdown and all that illogic that has been followed through, it’s no wonder there are anti maskers, anti-vaxxeers, hoax, an opportunity to decimate society and a re-set. We live in mass confusion. We are in great need of discernment, and it’s made me very sensitive to what I take in. I want to pay attention to how I’m feeling internally, and if I’m getting too worked up maybe it’s time to take a step back and look at something else OR to explore all sides of the argument. We’ve lost how to debate because everyone is so entrenched in their camp with no cross discussion. We’ve a lot of work to do to find shared common ideals as opposed to where we are different if we’re to get anywhere in this mess of confusion we’re living in. 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? Really, it's a furtherance of what I just broke into. There was a time on my social media feed where I wouldn’t follow anyone of different beliefs and ideals than mine. But then I realized I don’t know what other people are thinking and so when things happen, I don’t understand why it’s happened. In terms of curiosity as an actor, we’re very often playing individuals who don’t share that same ideology that we hold, how can we do this if we don’t allow ourselves to see things in another light or way, and allow ourselves to go through that ideology that we don’t understand? I started including in my feed people who hold opposing views to my own, just to keep tabs to the rhetoric they’re using and what others are thinking. There seems to be a fear that in doing this we lose our own identity or you are affirming other people’s beliefs that are right or wrong, and who’s to say what’s right or what’s wrong. But nonetheless, you can’t have a conversation if you can’t find common ground. Because we’re all human beings in the end, somehow in our world it makes sense to try to see the other side, to see the logic there. Where do we connect? Where is our common humanity? How can a bridge be made from one common ideal to the next without trying to see another point of view? Through me doing this, I can potentially have the same affect on someone else trying to see from where I cam coming. To learn more about Dion, visit his personal website: www.dionjohnstone.com , To follow Dion on his social media: Facebook: @DionJohnst ; Twitter: @DionJohnstone ; Instagram: @dion_johnstone Previous Next

A talk with a professional artist about their career. Back Hannan Younis and Rakhee Morzaria "Our art is contingent on an audience coming out and giving us feedback. We write what's honest and true and funny for us, that’s our voices...it's very meta." Photo credit: 852tangram Joe Szekeres The Toronto Sketch Comedy Festival will celebrate its 20th anniversary from March 5 to 16, 2025. It will showcase contemporary sketch comedy, storytelling, musical comedy, and clowning. Over 70 troupes from North America will perform high-energy acts. Recently, I held an online conversation with performers Hannan Younis and Rakhee Morzaria. They will perform ‘My Best Friend’s Friend’ on March 12 at Toronto’s The Theatre Centre. More about their upcoming show shortly. Comedy is a complex art form. It’s not an easy one to perform live. What does comedy mean for a twenty-first-century audience? Is there anything that a 21st-century audience should consider when attending comedy? For Hannan and Rakhee, comedy is always rooted in truth and their experiences. They are both racialized artists, and their experience of the world is filtered through this lens. For them, the most important thing in their comedy is to write what's true for them, what makes them laugh, and what spooks them. I find it interesting that artists who work in comedy also search for truth and experiences, just as theatre actors constantly search for truth and believability in their performance work. Performers in comedy aren’t just born. It must start somewhere and be nurtured. Where did this nurturing begin for the two of them? When looking at college brochures in high school, Hannan started a descent into comedy. Enrollment in 2004 in the Humber Comedy college programme followed. Rakhee started Second City in 2013 and completed their Conservatory, Bob Curry Fellowship (meeting Hannan followed) and worked on their mainstage in their Education Company, Family Company. Rakhee also made a comedic digital series in 2018, which was an incredible learning experience. The series was nominated for a Canadian Screen Award. Some comedy performers typically had mentors throughout their career journeys. Who were some of Hannan and Rakhee's mentors in comedy? Their response was interesting: “The audience…that sounds like a really weird answer, but our art is contingent on an audience coming out and giving us feedback. We write what's honest and true and funny for us, that’s our voices - and no one can teach us about that except for ourselves (and our core group of comedy friends who encourage and empower us). In terms of honing skills and getting stronger in our craft, it’s about audience response and trying things out over and over to understand the mechanics of why something is working or not…it’s about being true to our message and figuring out the strongest way to communicate it.” Their show, ‘My Best Friend’s Friend,’ opens March 12. It concerns two comedians trying to forge a friendship through the creation of their new, never-before-seen experimental comedy show. But the two of them whetted the appetite just a bit more. Hannan said the show came to be because they share the same best friends. They didn't want to do a show with us, so we made the show to spite them. Rakhee playfully added that since the two of them have hung out since 2015, they haven’t created something together since then. They got to know each other through the show. Rakhee calls it very meta. Are there any messages the two would like audiences to take away after seeing “My Best Friend’s Friend?” Both agree: “To be yourself and have fun.” What’s next for them when the Comedy Sketch Fest concludes at The Theatre Centre? They’re planning a tour of “My Best Friend’s Friend.” But there’s something else they’re keeping in mind regarding the tour: “Given the way things are going globally, it feels like the right time to dig our feet in and build an arts community that we’ve always wanted. We’re also writing a television show, but it’s under wraps so we can’t get into details at this time. You’ll have to stay tuned.” To learn more about the Toronto Sketch Comedy Festival at The Theatre Centre, go here: https://theatrecentre.org/event/toronto-sketchfest-2025/ Previous Next

A talk with a professional artist about their career. Back Maev Beaty “I’m excited to see where it goes and what’s next for our art form. I would love to see how I can be helpful in that. I’m curious about where that will lead.” Alejandro Santiago Joe Szekeres Maev wondered if this statement above sounded cheesy on the page. Not at all. She has attained a great deal of experience in the industry. I believe any upcoming artist would benefit tremendously from Maev’s sagacious wisdom about the peaks and valleys of the performing arts industry whether she teaches, coaches, interviews or watches emerging artists. I am one grateful guy Maev was available for a Zoom call last month. She had a few errands to complete before concluding her final performance at this year’s production of ‘Much Ado About Nothing’ at the Stratford Festival. She’s now back in Toronto. I’ve admired her variety of stage work, from productions at Soulpepper Theatre to the Stratford Festival. Some productions that come to my mind in which she has appeared are ‘August: Osage County,’ ‘The Front Page,’ ‘Much Ado About Nothing’ and ‘The Last Wife.’ This month, she will appear with Jesse LaVercombe in the Canadian premiere of Sarah Ruhl's ‘Letters from Max, a ritual’. More about the upcoming production shortly. Her sharp, comical wit set me at ease during our conversation. When I asked her where she completed her training, she smiled and said: “At the dinner table.” Maev grew up in a family of storytellers. Her mother is a storyteller. When Maev was growing up, her mother was a children’s librarian. Her maternal grandmother was a teacher interested in teaching English and storytelling, and that love of language came through Maev’s mother. Her father has always been a visual artist. Her parents play instruments, but Maev poked fun at herself, saying she doesn’t. She calls her brother “an artist of all trades,” who, in her words, “is a beautiful actor, hilarious improviser, and an incredible musician.” Using art to think about what it means to be human was just part of breakfast, lunch, and dinner in her house while she was growing up. It was part of who they were. Maev’s father was also a farmer. Her brothers also had a few careers beyond that, so it wasn’t necessarily all ‘bohemian’ as she called it. When Maev attended school as a child, she grew up on a couple of different farms in the Thousand Islands area. She attended KCVI (Kingston Collegiate and Vocational Institute), and her drama teacher was Ian Malcolm, who worked with many celebrated Canadian artists who now appear in theatre – Jacob James, Chilina Kennedy, Brett Christopher – they were all Maev’s peers. Another interesting fact that I didn’t know. At KCVI, the fathers of two band members of ‘The Tragically Hip’ also taught there. Maev called KCVI a high school that prioritized the humanities to educate the students, which she calls a “huge, huge gift” to the student body. Beaty attended the University of Toronto in the University College drama program. Pia Kleber ran the program at that time. She proudly states that Ken Gass was her first-year drama teacher. She called her final year in the program life-changing when she appeared in her graduating show ‘Twelfth Night’ which toured several cities, including a few Globe theatres. She also visited the Globe Theatre in London, England, and Prague. Although she appreciated the chance to perform at Stratford in one of the most glorious versions of ‘Much Ado About Nothing,’ Maev says she has been so jealous of the Toronto theatre-going public these last few weeks. There have been some incredible offerings in Toronto theatre since September. She calls the work thorough, passionate, and unified in voice. There are big artistic risks and choices being made. Yet, there is a general atmosphere of gratitude, humility, hope and a real presence of experience and mind in the theatre community. She added further: “I think the Toronto theatre-going public (and not just the traditional theatre-going public) are longing for, yearning for, desperate for live human connection and collective human experiences after this time of separation. More than ever, a chance to come together and experience something with strangers and yet still feel safe to do so that explores the primary questions of what it means to be alive.” Nothing does this better than live performance, even though she strongly admits she’s biased since she is involved in theatre. She would be remiss to say that the connection of feeling and being alive can also be felt in the other live performances of dance and opera that provide a human collective moment. Our conversation then veered towards her upcoming production of ‘Letters from Max, a ritual.’ The story focuses on the profound connection and friendship between playwright Sarah Ruhl and her student, poet Max Ritvo, who faces the return of Ewing sarcoma, a rare form of pediatric cancer. Maev says ‘Letters from Max’ is so completely about exploring the questions of what it means to be alive on the human heart, human consciousness, and noticing that you are alive while you are alive. The privilege of working on ‘Max’ allows both she and Jesse to venture even deeper into that question. She has read the source material for the play - the book ‘Letters from Max: a poet, a teacher, a friendship’ by Ruhl and Ritvo. She spoke about the connection she and her husband, Alan Dilworth, have with Ruhl. Dilworth and Beaty have a ten-year-old daughter. The first Sarah Ruhl piece Maev worked on was ‘Passion Play,’ a substantial theatrical endeavour with ‘Outside the March,’ ‘Necessary Angel,’ ‘Convergence’ and ‘Sheep No Wool.’ The production was an epic promenade three-location, three-and-a-half-hour ensemble piece. Beaty was eight months pregnant at the time. She laughed at the memory of the madness used in the most respectful term as the ensemble walked outside down Danforth Avenue. Alan has gone on to direct Ruhl’s play ‘Eurydice.’ He and Ruhl have gone on to have a correspondence like what ‘Max’ is about. She’s reminded of the biographical confessional production ‘Secret Life of a Mother’ which she co-created with Marinda de Beer, Ann-Marie Kerr and Hannah Moscovitch. Risks were taken in the revealing of true selves in 'Mother'. Ruhl does the same thing in ‘Max,’. Maev further adds: “The generosity of the writer (in both plays) to share their actual private writings with the public is a special kind of vulnerability and generosity because you’re just so exposed. I feel privileged and vigilant about shepherding Ruhl’s words to this play.” What’s one thing that drew Maev to Ruhl’s script? She says it’s a play that deals with death head on, but it’s so much more about life. She paused for a moment to think before adding: “Because of the environment I grew up in, I really believe that words are sacred and hold sacredness. Words can be medicine, holy and transformative. Words work on the body, they work on the neuropathways, the nervous and skeletal systems... In ‘Max’, what has struck me the most is how words put down in a letter, email, or text to another person or loved one carry medicine, meaning, and profound connection through the airwaves (or postal system) to another soul and be reciprocated.” Maev marveled how can that be not purely an intellectual exercise but an existential one? In the pandemic that’s what everyone had – relying on words that carried to others that carried through Zoom, social media, and text. In the case of ‘Max’ where the two characters are distanced physically across the country from California to Connecticut, or the distance in illness, what can one do to let that person know they are not alone? That they are alive? Or trying to find the right words to reach that person far away in isolation (whether it was through the pandemic or physical distance). This last part of my conversation with Maev has touched my soul and I found myself welling up as I write this profile. As a cancer survivor and someone who lost a younger sibling to the disease, I can still vividly recall how words I used, and others used, influenced my life and my family’s life at that time. Rehearsals for ‘Max’ have been going wonderfully in the circular antechamber of a church in Stratford. Maev worked with Jesse before in ‘Bunny’ at Tarragon. It’s a pleasure to work with someone again as they continue to discover the voice of the play and take risks. Jesse and Maev have a shared sense of humour, and Alan has been very ‘patient’ with it. She laughed at the word ‘patient’ so I’ll allow my imagination to wonder about what has gone on during rehearsals. And what’s one message she hopes audiences will take away from ‘Letters from Max’? “Notice that you are alive.” True words spoken that mean so much. What’s next for Maev Beaty once ‘Max’ concludes its run? She coyly smiled and said: “Maev is just going to rest and try to take a wee break. Maev is very much longing for some time with the family. It’s been such a huge gift at this particular time of the year, and there are some adventures ahead in 2025.” She has something planned for next year in 2024 but she doesn’t want to talk about it yet. All she did say – she fulfilled one of her dreams in playing Beatrice in ‘Much Ado’ this past summer. Now that one dream has been fulfilled, the door has been opened for some other opportunities to fulfil in the next thirty years. I can wait, Maev, because what’s that adage? Patience is a virtue. ‘Letters from Max, a ritual’ presented by Necessary Angel Theatre and directed by company Artistic Director Alan Dilworth will run at The Theatre Centre from November 10 to December 3. For tickets: https://theatrecentre.org/tickets/?eid=106867 To learn more about Necessary Angel Theatre Company, visit https://www.necessaryangel.com/. Previous Next

A talk with a professional artist about their career. Back Shawn Ahmed "Community is a two-way street. You have to put something into it to get something out of it." Steve Carty Joe Szekeres Toronto performing artist Shawn Ahmed currently appears in the Shaw Festival’s production of ‘Mahabharata’ in conjunction with Why Not Theatre and in association with the Barbican, London, England. In reading recent reviews of the production, I hear tremendous praise about the five-hour show. Yes, five hours, but there is a break in between the two performances. More about this shortly. Ahmed earned a Specialist in Economics at the University of Toronto. When did his desire to become an actor enter his mind? He says it was always something in the back of his head: “I just had no tangible way of achieving that goal. Before university, I attended Wexford School for the Arts. I had a huge introduction to the musical theatre there, to acting, dancing, and singing. It was always something I really loved in creating stories, listening to stories, watching stories, reciting stand-up.” Ahmed had an agent at this time, but he didn’t really see a place for himself in the industry. That’s when he attended U of T to study Economics. He remembers his agent telling him that she could still send him out to auditions since he was in Toronto. He could do commercials and make some extra pocket money which he thought was a good idea. He did that and while he studied at school Shawn was auditioning. In his second year that’s when he booked the substantial job of filming ‘Flight 93’ in Vancouver, the first film made about 9/11. (Side note: I did see the film and it is worth viewing. You can YouTube it). Shawn recalls being treated like an actor in that film. The experience was so profound for him that he had to decide how to make the industry work for him. He finished his degree, part-time over the next four years while doing sketch comedy, auditioning, and writing things. He also recalled working in the backs of bars wherever he could. Once he finished his degree, Shawn shifted focus and dove headfirst into the industry and moulded his life around how he would make a living in this business. He is very excited to be back in the theatre doing what he loves even though our world is still in Covid’s embrace. Hesitant about the theatre for the last couple of years Ahmed focused on the film and tv industry. However, in the last six months, he feels there has been a resurgence in theatre in Toronto and at Shaw. He feels there is an appetite as audiences and artists are hungry for live theatre again and for its storytelling. Voice and storytelling at its core, the really simple stuff, carry us forward while the other elements of the production lift it up. Currently, he is deep into performances for ‘Mahabharata’ at the Shaw Festival billed on the website as: “a contemporary take on a Sanskrit epic that is more than four thousand years old and foundational to Indian culture. This gripping story of a family feud is an exploration of profound philosophical and spiritual ideas.” When I asked Shawn to describe the plot synopsis, he had a good laugh and said: “If I distill it to one line, I would call it Indian Game of Thrones.” The Mahabharata is a 4000-year-old Sanskrit poem that has been told for obviously a very long time. If recited in its entirety, Ahmed says it would take 21 days to recite it. The production is a condensed version of the poem. For Shawn, what’s interesting about the story? It’s an Eastern story but it’s being told at a Western theatre for a Western audience by predominantly artists who grew up in the western hemisphere. It’s an event. At times, it’s a spectacle. The challenge is to honour what is in the original text, but the vision is to make it palatable for a western audience. ‘Mahabharata’ is many different stories, some related and some not, that have different lessons. Each story can be dissected in different ways. Each story is meant to be heard, listened and digested over and over again because you’ll get something different out of it every time. At its core, ‘Mahabharata’ is a love story where two people fall in love. As a result of that love, there are two different brothers that lay claim to the throne of Hastinapura. Each of these brothers has children and these children, who are cousins, will fight for what they believe is their rightful place. Ahmed describes the Shaw performances as ambitious but fantastic and adds: “It’s been a very difficult process, not from a place of tension but from a place of being expected to do a lot. The artists have had to do a lot. I’ve been pushed personally I think further than I have been pushed as an artist physically and emotionally, and mentally just timewise more than I’ve been for another show that I’ve done in recent memory.” Shawn stipulates he likes working hard for things he likes to do. It’s been a great learning experience. He’s proud of ‘Mahabharata’ and praises the work of writers Miriam Fernandes and Ravi Jain. Jain also directs the work. What Ahmed has found remarkable is the element of trust that has been established from and in everyone within the room towards Miriam, Ravi, and their vision for the work. An international cast has been assembled for the show and Shawn also finds that exciting. The expectation hopefully is to tour the show to as many audiences as possible. The story is very special to Shawn, and he reiterates how important it is to see both parts. Audiences are into it. The current production is told in many ways. It’s not simply a stand-up story. For example, there’s dance, music, opera, and clown influence. Outside of his work as a professional artist, Shawn heartfully spoke about his involvement in helping marginalized youth and young people break into film, television, and the theatre. He calls this initiative a community and it is a beautiful thing to him. It helps support everyone in that community and makes their lives better, their careers better and their quality of life better. Community is a two-way street for Ahmed. You have to put something into it to get something out of it. He sits on the board of directors at POV Film, a charitable organization founded in 2007 by Edie Weiss and Jeff Kopas. He proudly recalled how a lot of people stepped up along the way to help him out. Now, Shawn wants to give back and help marginalized youth break into the film and television industry through training, mentorship, job placement, and professional development. Shawn also co-founded Crazy Shirt Productions. This is a place for him and his creative peers to write, direct and produce. His projects have toured festivals worldwide and garnered awards and accolades. He just wrapped on the feature, ‘Sanctuary’, a Get Out-esque thriller, which he produced. (Hmmm…something else to watch for in the future). What’s next for Shawn Ahmed after ‘Mahabharata’ has concluded its run: “I am producing a movie that my buddy Scott Leaver wrote and directed called ‘The Devil Comes At Night’, a feature-length horror film we shot during pandemic times. We went to a cabin with a bunch of actors and crew for two weeks and shot it out. It had its premiere at the Blood and Snow Festival last November with Super channel and will have some sort of a release this year. There’s another show I produced called ‘Right Under My Roof’ through POV Films. It’s a six-part series told through found footage. The story is told through social media essentially.” And on a personal note, Shawn shared: “There are wedding bells in the future.” Always great news to hear. ‘Mahabharata’ runs until March 26 at the Shaw’s Festival Theatre. The production is divided into two parts. To learn more and/or purchase tickets, visit shawfest.com or call 1-800-511-SHAW. Previous Next

A talk with a professional artist about their career. Back Andrew Kushnir Looking Ahead Nolan Bryant Joe Szekeres I’ve seen Andrew Kushnir’s name on many live theatre sites over the years. I did get to review one play he had written ‘Toward Youth’ at Crow’s Theatre, but that has been the only work of his I’d seen. When I saw that he had responded to one of the artists whom I had profiled, I thought well, get in touch with him to see if he is interested in being interviewed. And he was most appreciative of the opportunity. Andrew is quite proud of his latest project This Is Something Else — an investigative podcast ‘love letter’ to theatre in this country, produced by the Arts Club. They’re nearing 4000 downloads.. ‘Project: Humanity’ is also nearing the 1-year anniversary of their CAPP (Covid-19 Artist Partnership Program) -- soon to be renamed PH 1:1. They’ve provided meaningful employment to 48 professional artists this past year as mentors to youth in the shelter system (in an arts discipline of the young person's choosing). Andrew is an actor, playwright, and director who lives in Toronto. He is artistic director of the socially engaged theatre company Project: Humanity. His produced plays include The Middle Place (Toronto Theatre Critic’s Award), Small Axe, Wormwood, The Gay Heritage Project (co-created with Paul Dunn and Damien Atkins, 3 Dora Award nominations) and Freedom Singer (co-created with Khari Wendell McClelland, toured nationally to 14 cities). His most recent work Towards Youth: a play on radical hope premiered in February 2019 in a co-production between Project: Humanity and Crow's Theatre. This past year has had him collaborating on a verbatim musical about competitive eating, leading a 7-week masterclass “Verbatim Theatre: Working with the Realness” with Ghostlight, creating an original limited podcast series for the Arts Club Theatre entitled This Is Something Else, directing the graduating class at the National Theatre School in the New Words Festival, and working on Dr. Kathleen Gallagher’s Audacious Citizens project – which researches the drama classroom vis-à-vis climate justice. His co-directed documentary film Finding Radical Hope was released in February 2021. He is a graduate of the University of Alberta, a Loran Scholar and alumnist of the Michael Langham Workshop for Classical Direction at the Stratford Festival. In April 2019, he became the first-ever recipient of the Shevchenko Foundation’s REACH prize. We conducted our conversation via email as he is one busy guy. Thanks for adding to the conversation, Andrew: 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. My brain zigzags wildly with this…what a year (and more) of flux. I think of the things that were once easy and are much more difficult, if not impossible, now. And then the inverse – how things that seemed implausible (big systemic reforms, for instance) feel not only more possible, but imperative. I have more appetite for change now than ever before, I’d say. More appetite for variations. For new stories. For moving away from the things that weren’t working. One thing does occur to me, as I turn over your question, is my perception of boundaries or borders. That has shifted for me. The notion of a safe space, one I can move freely through. In November 2019, I undertook a big research trip through Europe. I retraced my late grandfather’s journey from a small village in Western Ukraine, through Poland, Italy and England. He was a celebrated watchmaker, he designed the last railway-grade pocket watch in North America, and I covered something like 19,000 km by foot, train, plane and car rental with his pocket watch on me. I interviewed dozens of people about their sense of Time – some in their 90s – and photographed them handling his timepiece while I did it. That sort of trek through the world then felt so relatively effortless. Those meetings with perfect strangers felt so uncomplicated, relatively speaking. I think about how lucky I was to move through the world as I did then. It’s a different physical world now. Feels tighter, more bordered, for the time being. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? I found myself realizing how much I get from ‘showing up’ in a shared space with the work; how much theatre is co-created between artists and audiences, and how we’re consequential to one another in that ‘room’. I’ve said this before: why is it heaven when you walk into a sparsely attended movie? Why is it hell when you walk into a sparsely attended play? It’s just heavy-lifting when you’re without a crowd in the theatre – and often, digital iterations of theatre have felt like that kind of heavy-lifting for me. There have been notable exceptions, of course –moments of pure medicine! But that’s all to say, this pandemic has reinvigorated my affection for audiences, to remember that we do it all with them. This past year has also highlighted for me how much more, as a sector, we have to centre care in our work. Care for our fellow artists, care in our ways of working, our ways of producing, our ways of engaging with the public. Theatre is not lucrative, it’s not high-profile, it’s in many ways a fragile ecology, all we have is relationships. How do we take best care of our relationships so that everyone can show up maximally in the spaces we gather and make work in? As a professional artist, what are you missing the most about the live theatre industry? I got to direct at the National Theatre School this spring. We were safely distanced at all times, masked at all times, following very strict protocols around space and sanitization. It was kind of miraculous. And it gave me a dose of the thing I missed so much (and miss now!): the daily joy of a rehearsal hall working on a new play. The collective effort of making sense of new and original writing, testing revisions, dreaming up possibilities through performance and design. The requisite banter that comes with coping with uncertainty. The getting good at loving uncertainty. I think a life in the theatre primes you for various forms of not knowing. It makes theatre people good in a crisis. But I miss the very spaces and projects that help us get good at dancing with the unexpected. The helpful edges that keep the sand in the sandbox. 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? Seeing the lower hemisphere of a person’s face! Ok, maybe that will wear off, eventually. I suppose I’ll never take for granted how interconnected we are as a theatre ecology across this country. We aren’t that big of a sector. I think we punch well above our weight, but we’re a relatively small entity, a kind of village. My feelings around this was heightened recently through a history-related podcast I created for the Arts Club -- just seeing how interrelated we are by certain events and cultural forces. I’ve come to newly appreciate the space that large cultural institutions hold in the social imagination, and how their survival has tangible impacts on companies off all sizes. My esteem for smaller companies has also deepened, those who’ve been so skilled at responding to the immediate needs of their artistic communities. Keeping artists from creative atrophy (and from losing their livelihoods) is critical to our recovery, and to ensuring stages of all sizes get populated by exciting and diverse work. I do think we’re all enmeshed, from a theatre survival standpoint. Describe one element you hope has changed concerning the live theatre industry. I hope we’ve come to better recognize the barriers that have been in place in our industry for a long time: barriers to diverse perspectives, lived experiences, ways of working. Barriers to a more equitable distribution of power and resources. Barriers to access. I was speaking to my mother about the Free Theatre Report – this stunning document that I came across created by Savage God (John Juliani and Donna Wong) in the 1970s. My mother said “I bet if theatre had been free when I was growing up, I would have gone.” There was a kind of sadness when she said it. I think we in the theatre know that it can be a magical thing in your life, it can be hope-and joy-inducing. Can we come back to it now with an eye to broadening its reach and its presence in our social fabric? Can we democratize theatre more? Explain what specifically you believe you must still accomplish within the industry. Super tough question. I do love teaching and mentoring. My own teachers, mentors and collaborators over the years have loaded me up with so many insights and concepts and ways of going about theatre. I treasure the spaces where I get to share the collage of my ‘receipts’, what constitutes and constellates and influences my approach to theatre. There’s something so satisfying when I see someone excited by something I’ve inherited, that I’ve passed something useful along. 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’m not so sure about that. We’re seeing a surge in pieces of art about the 1980s AIDS crisis in recent years. I know there’s a confluence of factors around that – not least of which the broader social acceptance of queer stories. But I think there’s a kind of profound shock that needs to wear off (I mean we’re still in the middle of this global pandemic), and it’s going to take some time and distance yet before we’ll be able to appreciate and welcome narratives about what we’ve undergone. Robert Caro says “Time equals truth”. I’d like to think we’ll give ourselves some time. In another, weird way, maybe any play produced upon the “return to live theatre” will be COVID-themed, insomuch as we’ll be a bit self-conscious in the dark, talking down our mortal fear of that cough we hear across the room, clocking the actors coming more than 2 meters from each other, making contact. The most unrelated content will relate to our historic moment, because the event of theatre is always so Local and Now. As an artist, what specifically is it about your work that you want future audiences to remember about you? Ah, the awkward memorial question. I don’t really know how to respond. I have been to memorials for theatre artists who’ve achieved so much more than I will, and I wonder how much they occur to general audiences now (their ‘future audiences’). Maybe not much. And maybe that’s not a sad thing. There’s something inherently ephemeral about our art form, it comes and goes, you’ve got to be there. If any audience were to remember my work…I don’t know… “he was playful with hard questions” sits ok with me. To learn more about Andrew, visit his personal website: www.kushnirandrew.com Previous Next

A talk with a professional artist about their career. Back James Kall Theatre Conversation in a Covid World Ted Simonette Joe Szekeres What an enjoyable conversation with James Kall who appears as Nick and others in the Toronto company of ‘Come from Away’. And I even got the opportunity to be introduced to his beautiful dog, Harper. Gorgeous looking animal. James Kall holds an MFA in Acting from Yale University School of Drama. He has appeared in numerous TV shows, films and commercials, including "Schitt's Creek", "Suits", "Murdoch Mysteries", "Salvation", "Life with Judy Garland" and "The Christmas Market". He has over 100 professional theatre credits including "By Jeeves" on Broadway, directed by Sir Alan Ayckbourne and national tours of "Mamma Mia", "The 25th Annual Putnam County Spelling Bee" and "Fiddler on the Roof". He was in the original Canadian cast of the Tony Award winning musical "Kinky Boots”. James has worked at theaters throughout the US and Canada as both an actor and a director. He is a dual citizen of the US and Canada. We conducted our conversation via Zoom. Thanks again for taking the time, James to add your voice to the conversation: Many professional theatre artists I’ve profiled and interviewed have shared so much of themselves and how the pandemic has affected them from social implications from the Black Lives Matter and BIPOC movements to the staggering numbers of illnesses and deaths. Could you share with us and describe one element, either positive or negative, from this time that you believe will remain with you forever? I’ve been mulling over this question for over a week since you sent it to me. I think I wanted to stay positive about it. What will stay with me is that I realize how much I took for granted and how blessed I am in so many facets of my life not only professionally in terms of the privilege I had, the white privilege I had. There weren’t times when I worried, “Oh, are there going to be roles for white men in this business” whereas my colleagues do have to worry about that, my colleagues of colour. Having been doing this for over 40 years professionally, it never really hit me like that until the BIPOC movement, and I thought how very fortunate I’ve been. As far as the pandemic, I’ve been blessed that I have a home, I have food, utilities; I have companionship, and the things I took for granted like seeing my doctor whenever I needed or going to the dentist or meet with friends. I realize now this is eye opening for me. I’m a fortunate human being and I need to appreciate it more. Have you learned anything about human nature from this time? What strikes me the most is that it seems like we are divided into two camps: first, those who put themselves first above all else, and the other camp: those who put others first which would lead to betterment for all of us. I’m thankful to be in the second camp, and there are more people in the second camp which allows humanity to survive as long as there are more people in that second camp. I’m a dual citizen as I can vote in both countries. To see what has become of the US and all of the selfishness that has risen to the top and formed a head in regard to masks, vaccinations, politics, white privilege, police violence, you’re either in the one camp or the other camp. That’s what I think I’ve learned about human nature but there is quite a division right now. I’m blessed to be a part of ‘Come from Away’ and its story of people helping others in the face of tragedy. How has your immediate family been faring during this time? As a family, can you share with us how your lives have been changed and impacted by this time? My family in the US has remained safe and healthy and have been able to continue working. My family here, the person I worry about the most is my mother-in-law. She’s 98. She’s in a nursing home outside Ottawa that was hit rather hard early on and half of the residents succumbed to Covid. She’s been good and we were able to visit her until early November because there were socially distant outdoor visits. It was great. We tried to see her every week. Since then, we’ve had to rely on Zoom and virtual calls which has worked, but she has shut down a bit because of the depression of being alone. She has people around her, but not seeing her family has been hard. We try to cheer her up online and keep her going until we can see her again. I’ve lost a few colleagues of people with whom I’ve worked over the years to Covid which is devastating. Harper is fine, and my partner, Randy, is fine. We’re all good here; we’re healthy. I know none of us can even begin to guess when professional theatre artists will be back to work. I’ve spoken with some who have said it might not be until 2022. Would you agree on this account? Have you ever though that you might have had to pivot and switch careers during this time? My answer changes daily, if not hourly, for what I see on the news. I’m going to hold on to the belief that some theatre will come back this year, and I hope the Toronto production of ‘Come from Away’ does just that. We’re fortunate in that our production is sitting there waiting for us. I don’t think we will return until it is truly safe. So that’s why I’m disappointed with the roll out of the vaccines here in Canada. Nobody has really stepped up to the plate to make sure that they’re fixing whatever is not working. In the U.S., Dr. Fauci is quite pleased and believes even with the new strains of the new virus that, by April, anyone who wants to or should get vaccinated can be vaccinated. Right now, they’re doing groups, high risk, seniors. By April, I thought that’s pretty amazing. (Note from Joe: Mr. Trudeau is promising September. Thus, the reason why James’s point and why he is disappointed) We need that up here. In talking to our producers from ‘Come from Away’, we’ve had a couple of Zoom meetings, they really don’t want to compromise the show. They want to do it in the way it’s being done in Australia, intact as written. There’s so much close physical contact in the show that we have to ensure safety with this ensemble of 12 actors. We’ve done the show as a concert, which we’ve done, but it doesn’t serve the piece otherwise. So, I can there being far few audience members until it’s completely safe, but I do think the Toronto production of ‘Come from Away’ will return this year. How do you think your chosen career path and vocational calling will look once all of you return safely to the theatre? Do you feel confident that you can and will return safely? I do feel confident that we will return safely, I honestly do, because they have proven that case by re-opening the show in Australia, but Australia has handled the pandemic a lot better on their continent than we have here. The producers check in on us constantly to keep our spirits up and to ensure us that we have a job waiting for us. The producers want that we won’t return unless it is truly safe for us. Having been working in television since the pandemic came about, there are ways to continue in this business. In the face of the pandemic, it’s easier in film and television, but I think there’s enough energy and enough people behind restoring the arts. The arts are essential. I do believe we will return. I do. And it will be safe. I assume all of us will be returning. And I applaud my friends who have found other creative outlets to keep going whether jewelry making, design, teaching or sewing. I’ve been really impressed with the creations coming out of this pandemic. This time of the worldwide pandemic has shaken all of us to our very core and being. According to author Margaret Atwood, she believes that Canadians are survivors no matter what is thrown in their path. Could you share what has helped you survive this time of uncertainty? First and foremost, my dog, Harper. I have to get out of bed in the morning and take her out. And I love her for that. She keeps me active and sane. We’ve explored new parts of Toronto safely along with new parks whether we walk or drive to them. Certainly having my husband of 25 years, Randy, I thought being trapped together that this could be interesting. Really, it has improved our relationship. I realize how fortunate I am that we are together. It’s the perfect fit because we have gone through this year with just us and the dog and come out better for it, I think. I can’t imagine being alone during this. That worries me because I do have friends who are really struggling because they live alone. I try to reach out to those whom I know are living alone. I’ve been keeping busy because I’m going to learn Slovak. I’ve been brushing up on my Spanish and reading a lot. One of my passions is baking as the cast would probably tell that I would bring in some new baked goods once a week that I’ve experimented with. At first I was doing some baking to take to the nursing homes or to some of my neighbours. Can’t do that now, but I’m still baking. I may not fit into my costume but I’ll deal with that when we’re back at. And the usual stuff too. I sing a lot, talk to myself a lot, I volunteer. I found this organization called VOLUNTEER TORONTO and they send out, sometimes daily, notices where they need help whether delivering food, giving safe rides, or delivering goods to people who can’t get out. I miss that terribly that umbrella from our show COME FROM KINDNESS outreach program we started. I miss that. I miss what we’ve been able to accomplish over the last couple of years. ‘Come from Away’ has become more than just a show. It’s become a movement. I highly recommend volunteering. That’s what I plan to do along with baking and rescuing dogs and enjoying life as much as I can. Imagine in a perfect world that the professional theatre artist has been called back as it has been deemed safe for actors and audience members to return. The first show is complete and now you’re waiting backstage for your curtain call: a) Describe how you believe you’re probably going to react at that curtain call. I think everyone in the cast could answer this. I will certainly be crying but have a big ass smile on my face. I cry a lot. I have become a very emotional person and I cry at the drop of a hat. I cry during commercials, I cry if someone in the audience is crying and I can’t look at them when the show is going on. b) There is a crowd of people waiting to see you and your castmates at the stage door to greet all of you. Tell me what’s the first thing you will probably say to the first audience member: Ya know I'd say (in a Newfoundland dialect), "God bless yer cotton socks for bein' here, b'y", or I'd say "Ďakujem" (Thank you in Slovak), Gracias, Merci, Previous Next

A talk with a professional artist about their career. Back Mikaela Davies Theatre Conversation in a Covid World Mark Binks Joe Szekeres I am extremely thankful Mikaela Davies sent me a friend request several months ago as I admired her work in ‘The Last Wife’ at Montreal’s Centaur Theatre. Our Zoom call sometimes went off topic today as we found the questions below led to other questions and comments that I hadn’t even considered, and that was alright as Mikaela told me at one point during the interview to bring them on. Mikaela Davies (she/her) is an actor, director and writer. She is a graduate of the 2020 CBC Canadian Film Centre's Actors Conservatory. She spent two years performing at Soulpepper Theatre and four seasons at The Stratford Festival where she performed the leading role in The Changeling. She is a graduate of the Soulpepper Actor’s Academy, Stratford Festival’s Michael Langham Conservatory for Classical Direction and Canadian Stage’s RBC Director Development Residency. Davies is the inaugural recipient of the Jon Kaplan Canadian Stage Performer Award; she holds a Sterling nomination for Outstanding Comedic Performance as the lead in Miss Bennet at The Citadel and a META nomination for Outstanding Supporting Performance in The Last Wife at The Centaur. She has worked closely as a dramaturge with Robert Lepage and Jillian Keiley. She has directed and co-created a handful of award-winning plays with Polly Phokeev including How We Are, The Mess & Earth 2.0. Thank you for the conversation, Mikaela: 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’ve been okay. I’ve been really lucky that my family and friends have been healthy and safe so that’s brought a lot of peace of mind. I’m also pretty lucky that my partner and I don’t have kids yet so I cannot understand how difficult it must be for parents with young kids at home trying to do their work and help them through school. My hat goes off to them. So challenging. Given my health and everyone around me and not having this extra burden, it’s been okay. It’s hard, it’s a hard time for everybody. I do feel lucky. It’s pretty scary to hear of the numbers going up and down and up daily. How have you been spending your time since the theatre industry has been locked up tight as a drum? Well, when Covid first started I was quite lucky that myself, Hailey Gillis and Polly Phokeev, we were commissioned through Crow’s Theatre to work on a musical. We’re working on this adaptation of Mikhail Bulgakov’s ‘The Master and Margarita’, workshopped at The Stratford Festival. We were able to spend a good chunk of time just throwing ourselves into that so that was a really nice project to have. Polly Phokeev and I, we also work on our own writing projects together. We’ve had a history of making theatre together and now we’re exploring what it might be like to make a tv series so we’ve working on the draft of a pilot about a mission to colonize Mars. The other thing I have a lot of time for, which I’ve never really been able to do, is to take a breath and look around and breathe. I’ve always been a go, go, go artist and so in many ways this has afforded me a great pause. I’ve spent some time camping with my partner. We were van camping. We were sleeping in the back of his van. When the cases were low, we went out to British Columbia to see his family and we drove back across the country staying in national parks. I’ve never done that. I’ve never seen those parts and parks of Canada. That was the highlight of my year for sure. It was magical. 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? This is a good question. Speaking personally, Covid has allowed me to take a bit of a breath and a pause and to spend some time living and thinking about things, and as an artist I think that’s a useful thing to do. Sometimes we’re so caught up in making art, making art, making art, making art that we forget to live. I’m speaking for myself here. I’ve felt very grateful for that aspect of it. The kind of escapism that I imagine Hal Prince is referring to in theatre to me is a very different thing than the really dark, complicated time that Covid has brought on so many of us. To me, going to the theatre is an escape. I’m reading this incredible book right now by Tana French. She’s an Irish mystery writer and that feels like an escape. I’m thinking about these characters when I’m not in the book, my mind is going to them, I’m trying to figure out the mystery, that’s escapism. Covid is the opposite of this. Instead, it has shined a fluorescent light on the inequities of society, the drastic differences of the qualities of life of someone who makes $200K+ a year versus someone who makes $20K a year. Covid hasn’t been an escape. It might have been nice if it was, but no. 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? (Mikaela chuckles) Okay with the caveat that I’m not a doctor so I really have no business making any predictions on this … I cannot imagine the theatre on an institutional level will be back to anything close to its capacity until 2022 or later. There’re two things to consider: a) when the theatre can legally come back in a safe way and b) everybody’s personal safety level. When will audiences feel safe to return because everyone will be at different starting points. I think we’ve got a long haul yet, but I’d love to be wrong. The question every artistic director asks is how to get young people to attend the theatre and become subscribers. Yes, our seniors make up a good deal of our audiences, but this may not be the case when theatres are legally allowed to re-open again. Well, one of the first things is to mount work that young people can relate to. Ya know, sometimes we think of theatre as medicine that can become inaccessible to younger people. I remember my parents taking me to museums when I was a kid, and I was thinking, “Oh, God, I don’t know if I like this. I don’t know if I’m engaging with this.” It doesn’t mean the work wasn’t incredible, it just means I didn’t understand it at the time. It didn’t speak to me and what I was going through at that time. The question is how to get young people excited about theatre and the answer is to program productions that speak to them and exploring and navigating so we can push those boundaries in their minds. I had a discussion recently with an Equity actor who said that 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 was speaking with a director and how we might be able to put on this play through a Covid lens. We tasked ourselves with re-reading this play and imagining it in a Covid world. One of the things that struck me as possibly so exciting is seeing two characters come together and embrace and kiss each other and how electric that might be in a world where that’s not allowed if you’re not in the bubble. Like anything that happens in our world and the societies around us, it can’t help but inform the way we see things. I imagine there will be a renewed sense of chemistry and intimacy in our work to come once we are safely allowed to put these things on. I think seeing two people from different families come together and give each other a hug or any sort of physical touch will hit us in a different way than it ever would have before since we took it for granted. 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? This touches on tricky territory as we’ve seen through the #metoo Movement and the Black Lives Matter movement. Somebody’s idea of danger might be another person’s experience of abuse. I think it’s really important to say that you have to have everyone’s permission and consent to create that kind of environment. If you do, then I think it’s a fantastic thing to thrill yourself as an actor and for the audience and to seek that kind of danger as that’s the aliveness of theatre we all want to experience. I had that feeling of danger in reading Arthur Miller plays and when I performed in ‘The Changeling’ at the Stratford Festival. An artist can feel when an audience is in the palm of their hands and that’s exciting. 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 certainly feel more attuned to everything around me. Not being able to see family or friends starts to wear on you and you have a greater understanding of mental health and anxiety. I’m a highly sensitive person so noise, feelings, it’s all mixed up for me and this time of Covid has turned it up. God, I hope I do bring this sensitivity when I return to the theatre. Again, the late Hal Prince spoke of the fact that theatre should trigger curiosity in the actor/artist and the audience. Has Covid sparked any interest in you about something during this time? Has this time away from the theatre sparked further curiosity for you when you return to this art form? I love that. I love the fact he said theatre should spark curiosity. I think curiosity is the thing we need to build bridges in this time. When you can start to cultivate that in yourself with people who have radically different sets of beliefs than you do, you can be curious about them. You can begin to open doors and make those connections. I think that’s fantastic Hal Prince talked about the fact curiosity is one of the facets of what theatre should do. I spent a lot of time being curious about the police to be honest and how those systems worked for some people and not for others. What does that mean about a society if we are to continue a system that is discriminating against any BIPOC person? That’s been a huge learning curve for me. I watched this fantastic Zoom play reading by Ali Joy Richardson called ‘Dad’ through Studio 180. It was directed by Ann-Marie Kerr. It was so well done. One of the things I thought was so effective was it happened over Zoom but they utilized the platform of Zoom as part of the piece. In the actual play, Ali adapted it. This was a phone conversation just like you and I are right now, and we all got to be a fly on the wall during this conversation. I love ‘fly on the wall’ moments so I’m curious to see how people have been able to adapt that even while theatre can’t happen in the live space they’ve been able to take this form and make it exciting, and present, and right now. You can connect with Mikaela at Instagram: @mikaelalilydavies and Twitter: @MikaelaLily Previous Next

A talk with a professional artist about their career. Back Jac Yarrow and Ben Mark Turner Looking Ahead L-R: Jac Yarrow and Ben Mark Turner. Photos provided by Mirvish Productions Joe Szekeres compiled Jac's and Ben's answers ‘Joseph’ fever has struck the city of Toronto once again. Word has it the show is on its pre-Broadway run. Thank you to Mirvish Productions for allowing me to e interview Jac Yarrow who will play Joseph and Ben Michael Turner, the Musical Director, of this newest production of ‘Joseph and the Amazing Technicolour Dreamcoat’ One tidbit of information. Sir Andrew Lloyd Webber gave his blessing to Yarrow to play the title character. How does Jac still feel about it: “When Having Lord Lloyd Webber see my audition and think I was capable of being up on the London Palladium stage, playing this iconic character is still unbelievable to me. I will be forever grateful to Andrew for taking a chance on a new kid like me. It’s an experience that has shaped my life.” Can you please share where you completed your training as an artist? Jac: I attended The Arts Educational Schools, London (ArtsEd). Ben: I read music at King’s College London; I received my performance training from voice tutors at the Royal Academy of Music, and I was a conducting scholar of Sing for Pleasure. In between rehearsals and performances here in Toronto, I am currently writing up my Master's thesis - which I am also completing at King’s, albeit from a distance… How are you feeling both personally and professionally about this gradual return to the live performing arts even though Covid is still present? Jac: Naturally I’m so happy to be back on stage after such a frightening, unpredictable time. To share a theatrical experience with live audiences after so long feels so special. It’s something I won’t take for granted, ever. Ben: Personally, and professionally, I am utterly thrilled about the safe return to live performance. The pandemic was a uniquely isolating time. Being able to come together once again, to create and share in the glorious experience of live performance, feels like a definitive, joyful step towards rekindling life as we used to know it. At the Princess of Wales, we are testing twice weekly, wearing masks backstage and adhering to the latest guidance; it feels like a very small price to pay for safely returning to work and be able to bring this gorgeous show to this wonderful city. How have rehearsals gone so far here in Toronto as you prepare for this Toronto engagement of JOSEPH? Jac: Rehearsals have been so exciting. We have Vanessa Fisher joining us here as the Narrator and Tosh Wonogho-Maud as Pharaoh. Along with a fresh batch of 16 Canadian kids (Two teams of 8.) It’s brilliant to see the new takes on these roles and to feel the buzz from these new cast members, who are raring to go. Ben: It has been so lovely to rehearse in Toronto. Collaborating with the musicians here as we workshopped the new 14-piece orchestration was a personal highlight. Combining Andrew Lloyd-Webber’s music with these magnificent players has made for a truly extraordinary musical experience. Our young acting company (also made up of Toronto’s finest) has taken the challenge of learning this mammoth show in their stride. It filled my soul with pure joy to see our first audience shower them with the love and praise they truly deserved. n.b. they also took mocking my British-isms and pointing out my lack of Canada-appropriate attire in their stride, but that’s beside the point… Is this your first visit to Toronto? What has it been like for you? Jac: Yes, it’s my first time in Toronto! I love it here. I’ve been to a Raptors game, explored the city, shopped am desperate to try Puppy Yoga! I’m so glad we’re here for multiple weeks (10 weeks) so I can fit in as much sightseeing as I can. The people are also some of the loveliest people I’ve ever met. We’ve been welcomed here with open arms and it’s so lovely. Ben: I have never been to Canada before and absolutely love it. It is frightfully chilly though, isn’t it? – and I’m promised it’s only going to get colder. Nevertheless, I’ve found that there are a few things here that can’t be fixed by a plate of poutine and a glass of ice wine. Our dark day is a Monday, so I begin my week living my best tourist life. I’ve started with the classics (the CN Tower, St. Lawrence’s Market, Niagara Falls etc.) – obviously – but we’re here until February and I’m a massive foodie so any niche ‘must-do’ suggestions would be hugely welcomed. These last 2-plus years have most certainly altered the face of the live performing arts scene worldwide. Tell me how you’re both personally and professionally feeling and experiencing this JOSEPH. What is it about this new London Palladium production that you believe will make it worthwhile for Toronto audiences to see this Christmas and holiday season, and well into 2023? Jac: Joseph is a timeless show. The music is so iconic and resonates with so many generations. That’s why I believe it has stood the test of time. This particular production of Joseph is not to be missed as the show has been completely reimagined for a more modern audience. The colourful story is presented on a huge, lavish set with beautiful, colourful costumes, athletic dancing, glorious voices, and real theatre magic. Direct from the stage of the London Palladium, our production of Joseph has all the excitement and surprises it did in London's West End. Ben: Joseph was Andrew Lloyd-Webber and Tim Rice’s first collaboration in 1968. Back then it was only fifteen minutes long and it was performed as a one-off pop cantata in a school in south London. This year we took Laurence’s Palladium production around the UK to eighteen cities, and it was truly remarkable to see the show’s fifty-year history sewn into the fabric of British culture. From the first ‘Any Dream Will Do’, two thousand people in the Liverpool Empire Theatre were singing along with the “ahs”, reciting the colours of the coat, clapping the accelerando in ‘Potiphar’, and dancing in the aisles to the ‘Megamix’. Ben: At our first preview last Sunday, there was a wonderful exchange when the audience at the Princess of Wales let us in on their Joseph story: clapping, dancing, and singing along, just as they did with Donny Osmond in the nineties and with every Joseph since. To me, this new production, and its North American premiere, feel like the start of a glorious new chapter in Joseph’s history, as a new generation of theatregoers – led by lifelong fans of the show – take this iconic story and its music into their hearts. There is something irresistibly infectious about the joy that pours out of this show every night, we are so thrilled to have brought it to Toronto for the festive season, and I feel incredibly lucky to be a small cog in amongst it all. Once JOSEPH has concluded its run, Jac, what’s next for each of you? Jac: I can’t say as of yet. I’m trying to soak up my last few weeks playing the role after four years with the show. Joseph has been a huge part of my life and I will miss both the show and the role very dearly. ‘Joseph and the Amazing Technicolour Dreamcoat’ opens Friday, December 16 at The Princess of Wales and runs through the Christmas and holiday season to February 18, 2023. For tickets, visit mirvish.com or call 1-800-461-3333. Previous Next

A talk with a professional artist about their career. Back Ronit Rubinstein "As a Canadian playwright, I know that I am biased, but I have been extremely heartened to see how many Toronto theatre companies are proudly proclaiming they are producing NEW CANADIAN WORKS." Credit: Matthew McLaren. Visit his Instagram accounts: @wut.storytelling and @matthewmclaren8040 Joe Szekeres This summer, I wanted to catch a few more Toronto Fringe shows than I have over the last few years. When I hear how some Fringegoers can reach 20 or 25, I'm impressed and marvel at how they manage to do it. It's essential to support those artists who participate in the Fringe. Not all theatre and performing artists are complacent. They want to continue learning about their craft. What better way than going to see other artists do their stuff? Playwright Ronit Rubinstein recently got in touch with me via email. Her upcoming show isn't her first time performing at the Toronto Fringe, but it has been a very long time since 2008. Ronit says it feels like a miracle she's able to perform this summer. The title of her upcoming Fringe show, "Things My Dad Kept' intrigues me. For one, Ronit calls it more of a storytelling piece than a play. In the piece, Rubinstein intersperses the story of discovering her father's archive with hilarious anecdotes about their relationship and a gripping account of how her father and his family survived the Holocaust. The show is determined live at each performance, based on paper airplanes thrown by the audience. I'm intrigued even more. The audience gets to throw paper airplanes. What's with this? Or do we have to attend to find out the significance? Ronit shared in the email: "I've always believed that if an audience is going to go to a live performance, we need to provide them with some magic that could only happen at a live show, something they couldn't get by just going to the movies or staying home and streaming." Engaging and involving an audience as a storyteller is crucial. However, a performer does not want to make an audience anxious or put on the spot. Thus, the need for paper airplanes: "The paper airplanes feel like a fun and safe way to help make this show we are ALL creating together." 'Things' delves even further into grief, which is something we all carry in our lives. For Ronit, grief is a universal human experience and through 'Things,' she will share her own story of grief. Rubinstein believes audience members will bring their understanding of grief with them. When they bring their experiences, Ronit believes audiences shape the show, too. The show also explores memory and how it can resurface when we least expect it or slip away when we're not thinking about it. Memories do not come in chronological order. There is no set order for the launching of paper airplanes. There is no set order for their landings. So, there is no set order to 'Things.' The show is also about Ronit's father, who was an electrical engineer. He worked on telecommunication projects. For a while, he worked on a frigate, and Rubinstein said she was incapable of comprehending that part of him. As an English major, making paper airplanes is as close to engineering as Ronit jokingly says she gets. But where she completed her undergraduate degree is impressive. Ronit completed her bachelor's degree in English and Theatre at Princeton University. Wow! Rubinstein also shared who some of her mentors and influences were at this time. She fondly recalls in her first year at Princeton, the teacher who had the most impact on her was playwright R.N. Sandberg. Ronit planned to major in Psychology and Music when she first went to Princeton. After taking a seminar with Sandberg, she set out on another path, majoring in the two new subject areas. Janet Kish has also been an incredible mentor to Ronit. I concur with Ronit's summation. I know Janet as a theatre adjudicator through the Association of Community Theatres – Central Ontario Division. Kish taught for many years in the Toronto District School Board. She and Rubinstein were paired for a one-year mentorship by the Canadian Senior Artists Resource Network back in 2017. Kish has also been a tremendous support system, assisting Ronit with dramaturgical support for several scripts. Yet, the world of the artist and playwright does not necessarily mean gainful, regular, and steady employment. Ronit has another side to her life to pay the bills. She teaches and tutors for a test preparation company, helping students achieve better scores on standardized tests such as the SAT, GRE, and GMAT. She has been doing that for a long time and immensely enjoys the work: "It's rewarding to help people achieve their academic goals, and it keeps me sharp. It's also work that uses a totally different part of my brain than writing and creating do." Regarding the theatre and performing arts industries in Toronto, Rubinstein believes that every art form that seeks to remain relevant must continually evolve. For her, there's an innately human itch that gets scratched when someone sits in an audience with other people and laughs, cries, or feels feelings together. If artists want a healthy theatre community, with shows that are well-attended enough to sustain them, theatre companies and actors must appeal to all potential audience members in this diverse city of Toronto. Everyone needs to see themselves and their experiences reflected on stage as well. As a Canadian playwright, Ronit's following comment intrigued me further: "I know that I am biased, but I have been extremely heartened to see how many Toronto theatre companies are proudly proclaiming they are producing NEW CANADIAN WORKS in their upcoming seasons. Although this is in response to Donald Trump, I am still grateful for the explicit focus on producing Canadian writers for Canadian audiences. It's critical for writers to be nurtured." If things go well for 'Things My Dad Kept' this summer in Toronto, Ronit hopes to tour the show to other festivals. (Hamilton Fringe, are you listening?) Her dream of dreams would be to have a theatre company produce 'Things' someday with a more elaborate set and slightly longer run times. As we concluded our online conversation, I asked what was next for Ronit Rubinstein. She may try to go on her first proper vacation in years. When she's in Toronto, she can often be seen performing on local storytelling shows, such as Replay. She has also been toying with the idea of starting her storytelling show to showcase her favourite tellers. Perhaps the fall might be the right time for it. Just keep us posted, Ronit. Check the Toronto Fringe website: www.fringetoronto.com to check show dates and times for 'Things My Dad Kept.' Previous Next

A talk with a professional artist about their career. Back Ma-Anne Dionisio Looking Ahead Leon Le Joe Szekeres I have been trying to track down Ma-Anne Dionisio for quite some time to profile her work as an artist. I first saw Ma-Anne’s performance in the original Canadian production of ‘Miss Saigon’ which opened Toronto’s Princess of Wales Theatre. Since then, I have seen her performance as Maria in ‘West Side Story’ at Ontario’s Stratford Festival. I’ve also seen online that she and other artists have given concerts as our world slowly makes its way out of the pandemic. I was so thankful when she agreed to be profiled for this series as she is one busy lady in preparation for an upcoming production in May. Originally studying in the Sciences either to become a doctor or a dentist, Ma-Anne was invited into the world of the performing arts. She has three children and homeschools them during this time of the pandemic. Ma-Anne sees her purpose in life as healer and provider so the science mind within her was highly cognizant of the constant flow of varied conflicting information we were all receiving as a collective race during Covid. She is a self-assured, confident lady who opened up quite a bit about what she called the ‘loaded question’ of year three of the worldwide pandemic and how she and her family have been doing. She candidly spoke how she feels she has heightened and deeper intuitions and has learned to trust them especially when it comes to the safety of her loved ones. Ma-Anne continues to work on her personal well being because the situation of Covid in which we now find ourselves, we put our loved ones first. Ma-Anne spoke about the challenges she has faced during the pandemic, but she also says this time was a blessing for her. With gratitude, she acknowledges several of her family members who are front line workers and with sadness she has also experienced several familial losses during this time both from Covid and other reasons. Personally, this time has given her the opportunity to be with her immediate family members and those close to her, and to look inward where she honoured and made use of that time in the first year to get connected with herself and the planet. She made a definite choice not to perform for that first year. Ma-Anne knew that a lot of artists panicked where they felt they had to move towards virtual performances because they needed to do so. She respects and honours those who felt this way and made that choice because it was a challenging time. She chose not to do this. Instead, in her own words, she said: “Let’s honour the quiet, be quiet and do nothing because why not?” This time away was a real gift for Ma-Anne to honour. She is quite humble in that she doesn’t like to talk about herself so much or to be the centre of attention. She doesn’t consider herself a stereotypical performer and actor. For her, she is grateful to be able to use the theatre to connect with people and to heal both herself and whoever is present. She clarifies the work comes ‘through’ her and it is never about her. I found this latter statement interesting. But as a single mother, whenever Ma-Anne signs on to a project, she is mindful of the fact her children rely on her as caregiver and provider. It is a big decision now to come inside a theatre for everyone because there is a risk involved, but it’s even bigger than before the pandemic. She cannot afford to put herself in a situation where she endangers herself and therefore her children, so the project has to be worth it to make that decision to get involved. It was only last year where she decided to take on a couple of projects. The first production was ‘Follies’ a two-evening concert at Koerner Hall directed by Richard Ouzounian back in October. The second project is the upcoming ‘Lesson in Forgetting’ in May with Andrew Moodie through Pleaides Theatre at the Young Centre in the Distillery District. Ma-Anne took this project on as she learned Pleaides would sell 50% capacity for the run of the production, and that is for the safety of those attending plus the performers. How true, Ma-Anne, especially for all of us who have a keen interest in the live arts. We have seen how things can turn so quickly so we must take things day by day especially when we look to the Broadway theatre scene. What drew her to want to get involved with ‘Lesson in Forgetting’: “Once in awhile in this business you come across certain pieces that are just beautiful. Hopefully we are successful in delivering the intent of this piece and what it has in its very core in this story. The play is a wonderful observation of humanity and devotion." And how is Ma-Anne feeling at this point in the value of rehearsals as she, Andrew and the company approach opening night? Before she answered this question, Ma-Anne reiterated once again the value of work is always in progress. For her, the beauty of theatre is that it is a living, breathing piece, and because it is living it constantly changes in an instant. Rehearsals are still a work in progress for Ma-Anne as she continues to become comfortable with the material in the moment and learn about the character so that, in the end, she can move out of the way so that whatever needs to be delivered through her and the piece can come through. And what does she hope audiences will leave with after seeing ‘Lesson in Forgetting’: “This piece is so beautifully written about the vulnerability and fragility of the human mind and heart, and the human spirit. It’s a wonderful observation of what goes on when your own idea of what love should look like is being challenged.” What’s next for Ma-Anne Dionisio once ‘Lesson in Forgetting’ is completed? She laughed and said there’s a lot happening simultaneously right now for her, and she said that’s the thing about this business because when it rains, it pours. Personally, she is a work in progress all the time. Professionally, Ma-Anne is developing a new musical with a writer from New York and a Canadian co-writer, so a writer/director team from there. Her limited series she shot last year with Apple is coming out soon. Her other series ‘Astrid and Lilly Save the World’ both on Crave and Sy Fy. Andrey Tarasiuk, Artistic Producer of Pleiades Theatre, announces the English language world premiere of ‘Lesson in Forgetting’ by Emma Haché, commissioned by Pleiades and translated by Taliesin McEnaney with John Van Burek, runs live on stage from May 3 to 22 at the Young Centre for the Performing Arts in Toronto’s historic Distillery District. For tickets visit www. https://tickets.youngcentre.ca . To learn more about Pleaides Theatre, visit www.pleiadestheatre.org . Previous Next

A talk with a professional artist about their career. Back Sarah Garton Stanley Looking Ahead Alejandro Santiago Joe Szekeres Sarah Garton Stanley is highly respected among the theatre community as the links found at the conclusion of her profile reveal her prolific status. We conducted our conversation via email as she is one extremely busy lady right now. I knew Sarah was the Associate Artistic Director for Ottawa’s National Arts Centre, English Theatre, but that’s all I knew of her work. Her bio from the NAC told me far more about her work in the theatre: “[She is a] Director, dramaturg and conversationalist, originally from Montreal, now lives in Kingston and works from Ottawa. Sarah is the Curator for The Collaborations and leader for The Cycle(s). Sarah co-founded and is creative catalyst for SpiderWebShow, (where Canada, the Internet and live performance connect). She is also a former Artistic Director of Toronto’s Buddies in Bad Times Theatre. As well, Sarah is also Executive Producer of FOLDA (Festival of Live Digital Art) whose mission it is to support artists creating theatre in a digital age. In the course of her award-winning career, Sarah has worked across Canada and overseas. Most recent directing credits include Unsafe (Canadian Stage); Out the Window (Luminato/Theatre Centre); Kill Me Now (Royal Manitoba Theatre Centre production in collaboration with NAC English Theatre); Bunny (Stratford Festival); Helen Lawrence (Canadian Stage, Brooklyn Academy of Music, Munich Kammerspiele and elsewhere) and We Keep Coming Back (Jewish Culture Fest, Krakow, Poland and Ashkenaz Festival, Toronto). Sarah received the 2016 Literary Managers and Dramaturgs of the Americas’ Elliot Hayes Award, the 2017 Manitoba Theatre Award for best direction for Kill Me Now and the 2018 Honorary Member Award for Canadian Association for Theatre Research.” Thank you again for adding your voice to the discussion, Sarah: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Between March 13 and 20, 2020 I watched a future disappear. What I was doing, was to be doing, and in the planning stages for what might come after that, all of it changed. The one constant was my relationship with my partner. But even that went through enormous change. We started off in Vancouver, I was there directing David Yee’s brilliant ‘carried away on the crest of a wave’ at the Arts Club. The set was on the stage, tech rehearsals had begun. This was March 13. March 20 we were on a flight to Toronto. At the airport the cancellation of my upcoming production of Erin Shields’ ‘Paradise Lost’ at the National Arts Centre became clear. By March 25th we had moved to Kingston and the FOLDA festival that I co-curate along with the Green Rooms pivoted to entirely online offerings. On April 13th we brought home our pandemic puppy, Matzo. And on June 17 we arrived in Nova Scotia to live off grid at Birchdale. We stayed there until November 30th. We still have an apartment in Toronto, but now live in Yarmouth Nova Scotia. All of my work in the theatre has happened online since March 17th, 2020 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? My career was characterized by travel and meeting new people and seeing old friends and family. I have been incredibly lucky to work in many parts of this amazing land called Canada. Those experiences of change and return were a huge part of my joy in what I get to do as a director and dramaturg. Shifting to online has flattened a lot of my personal connection to the theatre. I liken it to a heart monitor. It still beats but without much drama. That said, I have truly loved seeing and participating in the creative shifts we have been making to face this moment. FOLDA is a great example of this excitement but so too are the wide-ranging outpourings of social justice creations that have more capacity when working in the digital realm. (or at least this is how it appears to me). As a professional artist, what are you missing the most about the live theatre industry? I miss the dust on the floor in the rehearsal hall. I miss having to wear pants. I miss awkward conversation with incredible people. I miss trying to avoid opening nights. I miss eating weird snacks in tech. I miss watching actors work. I miss going into the room at the beginning of a process and coming out into a lobby just before an audience is about to come in and asking myself, “How exactly did we get here?” I miss feeling shitty at opening night cards and gifts and I miss feeling sad and oddly relieved when a show closes. I have always believed that theatre gave me life, offered me a sense of family. I have missed my family. 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? What it takes for every single person to participate. What the pandemic has shown us is the facts of our lives. Our kids, our pets, our homes, our personal demands. We have, through the transition to online, seen so much more of what each of us goes through to live a life. So, when I think about the theatre, I think more deeply about what an artist has to organize to get to an agreed upon meeting time with countless others. And I think the same about the audience. What did they have to do to make it possible to get to the show? I think the future will see a split experience; some who will make it to the theatre and some who will want or need to see it on demand from home. But what I will never again take for granted is what is required for a group of people to gather at an agreed upon time. Describe one element you hope has changed concerning the live theatre industry. I hope how the industry has responded historically to social inequities has been forever changed. I hope that the industry will continue to be populated and led by more and more IBPOC artists. I hope the industry can be the changemaker it wants to be. AND I hope it can offer up MORE and MORE joy. Explain what specifically you believe you must still accomplish within the industry. Oh god. Joe! what a question! When the pandemic hit, I felt like I had both hit an incredible streak of work AND like I was not going to be able to sustain the pace for too much longer. And like so many of us, the pandemic forced a lot of things to happen. I was a non-stop mover who has now stopped moving. I am currently working on my PhD in Cultural Studies at Queen’s University. I am working on a creation project called: ‘Massey and Me: Conversations about the end of theatre in Canada.’ It is a work that I hope will illuminate some of the issues we continue to contend with and hopefully it will offer some insights about possible ways forward. It is a “show” and “research event” that I truly do hope I will be able to pull off. And, if it goes really well, I aim to publish the work. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. Hmmmm...I really have not thought much about that. I hope and trust that there will be a lot of work on our stages that reflects a breadth of experience and while Covid is bound to make its way into most creation and interpretation for the foreseeable future, I think this pandemic period has highlighted for me the enormity of social change that we are experiencing in this country and the world over. I expect that a lot of work in the next set of years will be a reflection of the dynamic power shifts that we are witnessing and experiencing in many corners of our day to day lives. Perhaps that is aspirational, but I really hope that is what floods the stages upon our return. As an artist, what specifically is it about your work that you want future audiences to remember about you? I want people to remember the conversations I ignited through my work. I want people to remember how I played with form. I want people to remember how much I loved making work with other people and, if I am really lucky, I hope people will remember some brilliant moments of stagecraft and a few good quotes. To follow Sarah: Twitter: @saragstanley / FB: @Sarah Garton Stanley / Insta: @sarahgstanley / LinkedIn Sarah Garton Stanley web site saragartonstanley.com web site spiderwebshow.ca web site folda.ca web site birchdalelake.com web site green rooms Previous Next

A talk with a professional artist about their career. Back Mathieu Murphy-Perron Self Isolated Artist --- Joe Szekeres I had heard about Montreal’s Tableau D’Hote Theatre, but I was never able to combine seeing a production while I was in the city. When I saw that a colleague had connections to Tableau D’Hote, I thought I’d take a chance to introduce myself electronically and see if they would be interested in being interviewed for this series. When Co-founder, Artistic and Executive Director, Mathieu Murphy-Perron got in touch with me and said he was very interested in an interview, I jumped at the opportunity to get in touch with him. You’ll see from some of Mathieu’s responses that Tableau D’Hote takes on projects that are highly artistic indeed with some world premieres that have me intrigued. Mathieu co-founded Tableau D’Hote Theatre with Mike Payette in 2005 and they managed the company together for eleven years prior to Payette’s appointment in 2016 at the head of Geordie Productions. Mathieu sits on the Board of the Conseil québécois du Theatre as the Quebec Drama Federation representative and chairs the Board of the Pointe-St-Charles Art School. We conducted our interview via email: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? I’ve been doing surprisingly well. I’m more on the introverted side of the spectrum, so the lack of social contact has not been too difficult, and the love and company of my partner and our feline companion has also helped tremendously. Family is holding up okay, though some are grappling with loneliness, which is hard to watch from afar. 2. I see the world premiere of Erin Shields’ ‘Thy Woman’s Weeds’ was postponed on account of Covid. How far along was the production before everything was shuttered? Will ‘Thy Woman’s Weeds’ become part of any future slate(s) for Tableau D’Hote Theatre? We were a couple of weeks from the beginning of rehearsals when the crisis hit, but we thankfully had yet to begin our set build which was a relief. We remain committed very much to re-staging the world premiere of Erin Shields’ ‘Thy Woman’s Weeds’ with our production partners Repercussion Theatre. Repercussion commissioned the play years ago and have been developing it with Playwrights Workshop Montreal since. This is too many years in the making. We won’t back down now. We would prefer to stage it once distancing measures have been lifted as it would not do justice to the story or the cast to arrange for an iteration of it where these seven powerful women all need to stay two metres apart. 3. What has been the most challenging part of the isolation and quarantine for you personally and professionally? I miss my bike. I live a life that requires me needing to zip through town quickly several times a day. I average 150-200 km a week. That’s down to 20-30 km. now. Not because I can’t bike, but I just have a hard time finding the motivation when I have less practical reasons to do so. There is always work to be done from home, so leisurely jumping on my bike for a stroll doesn’t quite get me going. Professionally, it has been imagining all the various scenarios and what they mean for our medium. The vast majority of creation models in North America are incompatible with the present crisis. Shows take years of planning and a certain level of certainty, and it seems we may not have that luxury for quite some time. I believe that this will call for more spontaneous creation although I remain unsure what that will mean globally for the craft of our art. 4. What have you been doing to keep yourself busy during this time of lockdown? Tableau D’Hote is one of few companies creating theatre in English in Quebec. As an official language minority company, there is a lot of work to be done to make sure that English-speaking artists are not forgotten in the Quebec government’s plans to support the sector, particularly seeing as how the contracts that govern our Equity productions are very different from those of our French colleagues under Union des artistes. I’ve been involved in a fair bit of advocacy work to that end as well as mapping out our various scenarios and losing myself in grant writing. 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? Follow your instincts, stay safe and don’t be too hard on yourself for not creating or not being happy with your creations. My go to mantra has always been a quote of Martha Graham’s. I think it still applies in Covid times: “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable now how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open.” 6. Do you see anything positive coming out of this pandemic? There seems to be a better sense of community where once there was little. Neighbours helping neighbours. People caring for one another, particularly those in more vulnerable situations. If that could continue, we’d all be stronger for it. As a staunch cyclist, I also hope this forces us to examine our cities relationship with cars. So many streets have been transformed to make room for pedestrians and cyclists, and it really makes you realize how much of our landscape is dedicated to parked cars. It’s sad. Hopefully this will push us to imagine our cities as a place for neighbours to interact and gather freely, on a human level, and less as a place for us all to be driving around in metal cages never really seeing one another. 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’s hard to imagine how it wouldn’t be. Knowing the economic tendencies of bot the Federal Liberals and the Coalition Avenir Quebec, I predict that there will be some drastic austerity measures when all this is over. Will the arts be spared? Maybe, but a weakened social safety net and gutted social services will undoubtedly have an impact on artists. We will need to remain vigilant and demand that our representative place people over profit, even more so after the crisis. 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? If streaming becomes part of the ‘new normal’ it will mean the emergence of a form of digital art. That’s fine. But it’s not theatre. I’m not here to say one is better than the other, but I am a theatre artist, and the very nature of our art calls for artists and audiences breathing the same air under the same roof. Our art will not be replaced by streaming. We won’t let that happen. 9. As co-founder, Artistic and Executive Director of Tableau d’Hote Theatre, where do you see its future headed as a result of this life changing event for all of us? I have the luxury of little to no overhead. We are a project-based company. I have years of projects lined up that I very much hope we will be able to produce but, if we can’t, we’ll put them on the backburner and think of projects that are better suited to this reality. We can wait this out. We’ll find new ways to create (we may even have a very small experimental summer project in the works), and we’ll take whatever time is needed to listen and heal to do just that. 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? Flabbergasted 2. What is your least favourite word? Crazy 3. What turns you on? Collective resistance 4. What turns you off? Capitalism 5. What sound or noise do you love? The rhythm and chants heard at protests. 6. What sound or noise bothers you? My Fridge was made by a Spanish Workers’ Co-op that closed down in 2015. It beeps incessantly as soon as it gets warm and I have yet to find a mechanic that services them given that the company shut down. I hate the sound of my beeping fridge especially at 2 am. 7. What is your favourite curse word? Ostidecalissedefuckshitdetabarnacle. (Personal note and aside: Gotta love the Quebeckers for their cursing) 8. What profession, other than your own, would you have liked to attempt? I’m a big believer in parallel universes. They ease my anxiety. Whenever I like to tackle something in the world but that I have neither the time nor the skills to do so, I tell myself that an alternate me is taking care of it in an alternate world. That said – bike messenger. 9. What profession would you not like to do? Police officer 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? I’m agnostic, but I believe that in the off-chance God exists, they are more concerned with the life you live than whether or not you believed in them. So I’d like a knowing smirk that says it all. To learn more about Montreal’s Tableau D’Hote Theatre, visit www.tableaudhote.ca . Previous Next

A talk with a professional artist about their career. Back Nora McLellan Moving Forward ---- Joe Szekeres Performing artist Nora McLellan made me laugh quite a bit during our one hour Zoom conference call. She has certainly tried to stay positive in these long eight months. Well, Nora, please keep up your sense of humour in looking at things as sharing it with others is a gift indeed. I’m quite impressed with Nora’s background as a Canadian performing artist. She acted in JOHN for THE COMPANY THEATRE. Additionally, she has performed in some outstanding productions including AUGUST: OSAGE COUNTY at the Arts Club in Vancouver, THE MATCHMAKER at The Stratford Festival, MRS. WARREN’S PROFESSION and GYPSY at The Shaw Festival, and THE STONE ANGEL at Canadian Stage and London, Ontario’s GRAND THEATRE to name a few. Thanks again, Nora, for an enjoyable discussion and conversation: 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? I was thinking about what it would be like the first time we go to a theatre and we see somebody shake hands or stage. Or hug on stage. Will it be a period piece, or will it be shocking? Will it be a sense memory? So these are the kinds of questions that occupy my thoughts when I go for walks. I think about those little noticing details. What we are in right now is the new way of living, I guess I would say. For me, living in Niagara means I am able to go for walks in the country. When I go to see my guy in Toronto, we try to go on interesting urban hikes. Two weekends we went to Downsview Park, an urban park where the airbase was. I hadn’t been here before. There were other people around but we were miles away from everyone as we walked. So, this new way of living means it’s quiet, I will say that (Nora laughs). Some new way of living is here right now. How have you been faring? How has your immediate family been doing during these last eight months? How have I been doing? There have been some personal struggles but I’m doing okay. I’ve been doing an astonishing amount of walking for me, at least 5-6 miles a day. So that is something that I feel I have to do, I feel as if I have to go walking daily. I’ve got headphones and listen to the CBC or podcasts or just take off all the external accoutrements and just listen to the sounds of the birds. It’s been very interesting. I got home in March and I’ve been really watching the seasons. Because I’m not usually here as much as I am this year, I’ve seen the same trees go through spring, summer, fall and then descending into winter. And I guess I’m going to be here to see your spring again aren’t I, Tree? (she says with a laugh and so do I) There are colleagues of mine in horrible situations in terms of health and personal things. My ‘chosen’ family are in Louisiana, Oakville, and Alberta. My guy Ted has his job as a Systems Administrator. He’s working from home 9-5 Monday – Friday in Toronto. Everybody just seems to be plodding along. My family are my closest friends that I picked. As an artist within the performing arts community, what has been the most difficult and/or challenging thing for you professionally and personally? During this time, it would be the lack of routine from working. Luckily, I have been working a lot in recent years. I miss that – warming up in the theatre, working on the text, the camaraderie. I miss watching other actors work or at work. I miss how a director works. I love Tech Week and I miss Tech Week. Some of us from Vancouver once a month will participate in Zoom calls and just to talk stuff. I miss the critical thought about the work. The thing about theatre is we’re filled with stories of all kinds. The short answer: “I miss it all.” 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? Yes, I was. I’m sincerely hoping that some of these projects will continue in the future. Fingers crossed, here’s hoping. What have you been doing to keep yourself busy during this time? I am Ontario Councillor for Actors’ Equity Association. We have a lot of meetings and depending on how many committees I’m on, I’m busy in reading a lot of documents. Walking and Zoom therapy! 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? Well, I don’t know necessarily if I’m a very wise person. At Equity, there’s a Mental Health Wellness Task Force, and the committee has been calling on the senior members of Equity to check in on how they’re doing. Many of the more senior members are saying: “We’re used to this uncertainty, this pause. It’s the young theatre graduates you should be contacting.” For the graduates, this time of the pandemic is a crash course in how to live in uncertainty and how to keep going. I’m incredibly impressed by my colleagues and how they have shifted to other professions in the interim while staying firmly planted in the live theatre/entertainment industry. And my colleagues have adapted to the digital world and how that adaptation has now become a part of theatre. The astonishing amount of people from across the country who have the ability (which I don’t and which is why it impresses me) to sit down and decide to discover how they can still create during this time of shutdown in the industry. I don’t have that ability. Someone has to tell me to do something, and I do it. For the young creators out there, talk about being put into a box and punch your way out of it. This is the time to realize, “Okay, I’ve been put into a pandemic lockdown box. How do I punch and do something?” It’s an extraordinary time and to the young performers I say, “if you’ve got it, go for it.” Do you see anything positive stemming from Covid 19? Yes, I do. The ability to take care of each other and to be kind to each other. In the arts community, I find them to be a very caring group. It seems right now that when our friends and colleagues are going through difficult times on top with the isolation, there is a great desire to reach out. That kindness, support, and idea for being thrilled for a colleague when a part is offered to them is rewarding. It’s not much of why didn’t I get that role or that part? Instead, it’s triple fold excitement for our colleague who was offered work in the industry during this time. The professional and community theatres are caring groups. Ted was involved in community theatre. It was important for him. I think the world of community theatre – people who donate their time for weekend and evening rehearsals do it for the love of it. They are a caring group. They really love what they’re doing, and it is this hope that I see stemming from Covid. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? There’s been such a huge shift in the arts world, and a well-timed shift. There’s a new generation. I think the people that are showing that kind of leadership – the festivals have all demonstrated that. I’ve been seeing things happen right across the land. It’s incredible to me that I was streaming a show from the Arts Club in Vancouver the other night, watching Natasha Mumba in ‘acts of faith’ the other night. I was streaming something from California the other night that involved an acting lab from my teacher, Uta Hagen. I see a lasting impact in a deeper connection we will make with each other when we’re allowed back into the room and the performance space and utilizing the digital techniques and elements that were already in use. A few years ago, at the Blyth Festival, I saw ‘The Last Donnelly’ co-created by Gil Garratt and Paul Thompson with beautiful slide and digital work by Beth Kates similar to live music mixing in concerts. I think this is the future and it is fascinating. 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? Believe me, as a Councillor for Equity, this is an ongoing discussion especially these days. It’s a new world. I’ve seen some incredible work. One of the first things I saw in lockdown was a terrific performance at Factory Theatre with Kevin Hanchard in HOUSE. It worked. It was as if Kevin was talking to us. Then I saw Daniel McIvor, the playwright of HOUSE, perform the play in Cape Breton in August. Wonderful production with Daniel as well. Two streamed productions that were incredibly different, but that’s the mark of a great play. That kind of stuff has been eye opening. The Stratford filmed productions have been a tonic for us. I’ve also seen live concerts at Shaw where we were socially distant. Something that I truly miss as I was watching a streamed performance the other night – I miss being in the audience. I miss the shared experience. I miss being with Ted and knowing that we, as an audience, collectively receive something together that particular night. I still get it when I watch a performance digitally but being with people in the room is really something that cannot be replaced. We’re both on the same page, but ACTRA and EQUITY have to figure out the compensation element which is wobbly. People want to get out to do something but not being paid….it’s such a challenging issue right now. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? Destroy? This question sounds like such a Game of Thrones kind of thing. (Nora laughs). To me, I’m just getting warmed up. I hope I’m part of the Canadian Theatre fabric when we all get out of this pandemic. What cannot be destroyed is my desire to be on stage. I feel like I’m just in the wings ready. I’m hoping I speak for so many of colleagues. Our love of telling stories and being part of the ritual of theatre – there’s nothing like it. Previous Next

A talk with a professional artist about their career. Back Seana McKenna and Miles Potter Looking Ahead Photo provided by Seana and Miles Joe Szekeres When I closed out the ‘Moving Forward’ series in November 2020, I was extremely grateful both Donna and Colm Feore graciously gave of their time to answer questions via email on how they had been faring during this last year of tumultuous upheaval especially in the live performing arts industry. I am appreciative both Seana McKenna and Miles Potter agreed to close out the 2021 series of ‘Looking Ahead’ and offer their understanding of what has gone on these last 16 months for them, and how they see the professional live theatre industry in a post pandemic world. Seana is a graduate of Montreal’s National Theatre School. I’ve seen her work on stage in many productions over the years at The Stratford Festival. She has graced the stages of other companies across Canada. It was the production of ‘Doubt: A Parable’ in which she appeared that encouraged me to direct John Patrick Shanley’s hard hitting drama twice on the community theatre stage. Miles is an actor and director who has worked in the industry for over 35 years at many of the illustrious venues across Canada. He directed the original production of ‘The Drawer Boy’ in 1999 at Theatre Passe Muraille. As a director, Miles has envisioned over 40 productions and acted for three seasons at The Stratford Festival where he was in the original company of Elliott Hayes’ ‘Homeward Bound’. We conducted our conversation via email. Thank you, Seana and Miles, for sharing your thoughts and perspective with all of us as we look ahead: 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. SM: My view of the world, like so many things over the pandemic, has been up and down. At one moment, filled with despair at the loss, the ignorance, the cruelties that abound. And then fervently optimistic about the world, its young people, and their hopes and dreams. I think I am still a realistic optimist, which may very well be a cynic in the end. Work for the most; hope for the least MP: When I view Covid from my personal perspective, I have to acknowledge that a): I am an extremely lucky person, and b): my experience of Covid has been very different from a large part of the population. As an older person, of course the initial risk was very present for me (I told my adult son my main objective was to ’stay off the trachea tube’) But fairly quickly I became aware that I was assuming the role of an observer, as theatre people often do, and I became very aware of how other people's lives and livelihoods were cratering around them. My heart went out to those young people and mid career artists whose worlds shuddered to a halt. I do, however, think that a perception I had early in the pandemic is still true today: if you compare the number of teeth gnashing and wailing done by, let’s say, the financial industry in 2008 compared to the theatre industry in 2020, the theatre industry with an unemployment rate nearing 100%, compares favourably, attitude wise. Especially as we had nothing to do with the destruction. This is to say my most recent perception of my fellow workers is that they are flexible, realistic, and often stoic, which is something decades in an uncertain industry can prepare you for. 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? SM: I think live inside theatre is still in cocoon form, just starting rehearsals in various cities to open outside, or hopefully, for autumnal indoor theatre. It will have changed, I think. There will be more diverse storytelling, more awareness of the social justice issues that have been front and centre over the pandemic and possibly, less of it, due to the theatre’s economic devastation. Hopefully, it will be a kinder, more welcoming place to everyone and their viewpoints. Many theatre people will, I think, leave the theatre, having found other more stable jobs that are not so challenging. They may have realized how truly marginal we are in our society, especially in Ontario, one of the largest theatre-going centres in the world. Yet theatre practitioners were not even considered in Ontario’s original opening plan, unlike sports teams that needed to “practice”. MP: Part of the above answer to this question may apply, but I also think I have come to be very aware that despite the heroic efforts of people to keep working on video and zoom theatre…it ain’t theatre. There is no replacement for sharing air with your audience; the air carries the sound waves as well as droplets; no electronic equivalent can do the exact same thing as hearing a live voice speaking directly to you; I suppose one might quibble those microphones do the same thing…sure, but I hate microphones. As a professional artist, what are you missing the most about the live theatre industry? SM: People. The huge collaborative exploration of the complexities in any given piece of theatre. The continuing discoveries made with the audience present, moment by moment. The joint purpose of everyone involved in putting on a play, onstage, backstage and behind the scenes. The camaraderie of colleagues. The listening. The way of life that every theatre person understands. MP: What do I miss? Being in the room. In an interview about his films, Ingmar Bergman was once asked “Don’t you do plays as well?” And apparently, he really perked up: “Yes; now, being in a room with a group of artists working on a great text; that is work for adults.” I agree. 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? SM: The theatre’s very existence. MP: You know what? Not to sound smug, but I don’t think I ever took anything for granted. I never felt anyone owed me a job; I was always grateful to work; every time I opened a show or entered a rehearsal hall, I always made a point of being aware that this could be the last time…and this time, maybe it was. Describe one element you hope has changed concerning the live theatre industry. SM: I hope it will not be a scary place, that love will conquer fear, that we will feel safe to take risks, that we will find strength together to do what we love and what we believe in. After the theatres in Britain were shut down, not by the plague, but by Cromwell, change came: women were allowed to appear on stage, playing roles previously forbidden to them. Positive change came after a period of great repression. I hope that happens again, that theatres flourish, and enjoy even a fraction of the government subsidies offered to so many corporations! MP: There is so much change happening right now in the world, and the theatre that is meant to reflect it, it is hard to pick one; I suppose my hope is that the ability for a group of people to be in a room and trust each other to take risks and share their vulnerability will not be swallowed up in the current tide to express and define one’s individuality. Putting on a play has always meant allowing one’s ‘presence’ to feed into and serve the whole. Right now, the ‘whole’ feels fractured. Explain what specifically you believe you must still accomplish within the industry. SM: I don’t really have the appetite for “accomplishment” much, anymore. Continuance, yes. Especially teaching, which I have done since my twenties. I have also done some Zoom teaching and mentoring and loved it. You learn so much working with young actors, and it forces you to articulate what it is you think you do. I am also directing again this year, for Here for Now Theatre and for the University of Windsor. This is the longest time since I was about five that I have not been on a stage: I hope I can still act. So I hope to be on a stage again one day, with old friends and new colleagues. Out of theatre-school, when asked in an interview why I went into the theatre, I said: “To change the world”. I think, oddly, my goal is still the same. Even if it is only one person’s world. MP: My goal in the industry ever since I decided that I could direct plays, was to try, to the best of my ability, to make and to allow the people I am working with to be better. To be honest with them, and in a respectful manner to guide the production and the acting and all the elements to a positive finish. If I work again, that will still be my goal. 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. SM: “Must be prepared”? That sounds rather onerous, doesn’t it? You don’t have to go if you don’t like the subject matter. I am not sure that we will see a flood of Covid themed stories right away: we are in the middle of it. We may need some time and distance. Playwrights and collectives may want to go in the opposite direction, to escapism as entertainment did in the twenties and thirties after the Great War and the depression. But plays can be more current than film. We might be ready for Covid-themed stories-it is, sadly, a universal theme. I would go see a Covid-themed story… if it’s a good story. Or if I have friends in it! I don’t think I would like a steady diet of them, though… MP: My friend Mark Crawford has written a one person show that is a terrific story with lots of characters and humour and suspense; it happens during the summer of 2020 and Covid is definitely present. I’m helping him with dramaturgy and staging; it should go on this summer. It is not a ‘Covid play” but Covid is in it. I think in a contemporary story written this year, Covid can’t be ignored. I have enjoyed the few movies made during lockdown that feature lockdown. How far into the future will people want to hear about the pandemic? If it is anything like the Spanish Flu, not long. But it remains to be seen. As an artist, what specifically is it about your work that you want future audiences to remember about you? SM: Future audiences? I hope past audiences may remember a moment or two. I would like them to remember that I was glad they were there with me, and hope they felt, if only for a moment, that I was speaking to them and for them. I hope I shared enough, so they might, in our shared experience, have felt something, and ultimately, felt less alone. MP: As a performer and as a director, I have always tried to serve the play, and the playwright, even when I was doing collectives, which can really encourage a 'everybody for themselves environment’(despite the name of the genre.) I would hope that there are some audience members, especially younger ones, who might someday say: “Hey, remember that amazing MacBeth we saw? Or remember when Seana McKenna creeped us out as Medea? Who directed that, anybody remember?’ That will be enough for me. Previous Next

A talk with a professional artist about their career. Back Mark Crawford The Self Isolated Artist Liz Beddall Photography. Joe Szekeres I’ve often wondered if professional artists who wear more than one hat as an actor might prefer one identity marker over the other. For example, there are those who are actor/director, director/actor, playwright/actor, actor/playwright…the possibilities are endless. Since I’ve entered the Facebook and Twitter universe, I’ve seen Mark Crawford’s name appear under PEOPLE YOU MAY KNOW. I remember his play ‘Bed and Breakfast’ was a summer hit at Toronto’s Soulpepper Theatre where Paul Love described it as “adding a splash of fun to the dog days of summer”. In January, I reviewed a good community theatre production of Mark’s ‘Stag and Doe’ at Bloor West Village Players and really liked the story. When Mark’s name appeared a few days ago again under PEOPLE YOU MAY KNOW, I threw caution to the wind and thought, “What the hell?” and sent him a message asking if he would like to be profiled. I was pleased he agreed. Just from our online conversation, I found him pleasant and affable and I hope I get the chance to meet him in person soon. Mark studied theatre at the University of Toronto and Sheridan College. His plays which are published by Scirocco Drama have been produced across Canada and internationally. Recent acting credits include Stage West Calgary, Arts Club, Blyth, Centaur (Montreal), Port Stanley, Factory Theatre, Theatre New Brunswick and Thousand Islands Playhouse. I’m not going to tell you here whether or not Mark likes to be referred to as a playwright or actor or both. I’ll have you find out: 1. How have you been doing during this period of isolation and quarantine? Is your family doing well? Thankfully, everyone in my family is healthy. I’d love to go see them, but we’re being good and hunkering down at home. As for how I’ve been doing…turns out pandemics are a real roller coaster ride! Today, I’m feeling pretty good. Over the past several weeks, I’ve had moments where I stand in the middle of the kitchen, staring into space, saying to no one: “What is happening?!” At this point in the game, I don’t think there’s any point in pretending this isn’t weird and hard. 2. Were you involved in any projects before the pandemic was declared and everything was shut down? What has become of these projects? Yes, I was performing a play called The Outsider at Stage West Calgary when everything ground to a halt. We were about halfway through our run, so it was disappointing to stop when we did. As a playwright, I had some productions that came to a standstill. Theatre New Brunswick’s Young Company was on tour with my play for young audiences, Boys, Girls, and Other Mythological Creatures. Neptune Theatre’s Touring Company had just started rehearsals for that play as well. The University of Windsor was about to go into tech with Stag and Doe. I’m hopeful that some of these productions will see the light of day again. In the past few weeks, I’ve experienced the next wave of postponements. The Birds and the Bees at Port Hope’s Capitol Theatre has been put off till next year, Bed and Breakfast at the Charlottetown Festival is delayed as well, and I’m in the Toronto cast of Harry Potter and the Cursed Child, which is also postponed till 2021. So yeah. It definitely sucks. But there’s comfort in knowing that everyone in the business is in the same boat. 3. What has been the most challenging part of the isolation and quarantine for you? The not knowing: not knowing how long this will last, not knowing when we’ll get back to work, and not knowing what life on the other side of this will look like. Also, it’s been a challenge to not eat two weeks’ worth of groceries in four days. 4. What have you been doing to keep yourself busy during this time of lockdown? I’ve been going on a lot of walks, using my actor training to balance the stage picture and keep my distance. I’ve been doing lots of cooking, lots of baking, and now that the weather is nice, lots of work out in the yard. I’ve given myself some big garden projects to work on this year. It feels good to get my hands in the dirt. I’m reading all of the Harry Potter novels. I read the first two when they were fairly new, but then I got too busy in university reading The Canterbury Tales and ’Tis Pity She’s a Whore. Anyway, I’m halfway through Order of the Phoenix and loving it. After weeks of not feeling able to write, I’ve started work on a little radio/podcast play. It’s different than anything I’ve written so far. It’s fun because the form allows me to dream up stuff I wouldn’t write for the stage. In a few weeks, I start teaching an online play writing class for teens through Theatre Orangeville. I’m really looking forward to that. But let’s be honest: I’m spending a lot of time staring at my phone, watching TV, negotiating how much news to consume, developing a love/hate relationship with Zoom, and lying on my yoga mat not doing yoga. 5. What advice would you give to other performing artists who are concerned about the impact of COVID-19? Oh, jeez. I don’t know if I’m in a position to give anyone advice! I’ll say this: if you thought you’d use this time to write your King Lear and it’s not happening, that’s OK. I saw a great tweet the other day that said, “It’s a global pandemic, not a writer’s retreat.” If you’re able to focus and create, more power to you. But if you sit down at the computer and nothing comes out, that is completely understandable. Maybe instead of output, this is a time for input. Read some books, watch some movies, listen to music or podcasts, talk to your friends, fill up your tank. And by this, I don’t mean, “This is your chance to read the Riverside Shakespeare cover-to-cover,” I mean, “Absorb whatever you’re drawn to.” The finest actors and writers I know have wildly eclectic (and often pretty low brow) taste. Everything is grist for the mill. 6. Do you see any positives coming out of this pandemic? Wouldn’t it be great if our society used this as a chance to look at some big stuff? It seems like the ideal time to address economic injustice, the minimum wage, a universal basic income, workers’ rights, health care, education funding, long term care, household debt, homelessness, poverty, climate change, I could go on and on… On an individual level, I hope this experience makes us all a bit more compassionate, more patient, and more grateful for what we do have. Who knows if any of that will happen? A boy can dream… 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? There’s no doubt that it’s already been impacted. Sadly, I don’t think all theatre companies will survive this. Not all plays that were programmed or in development will go forward. New work opportunities will decrease as theatres try to salvage contracts they had to terminate. Worst of all, I’m afraid some artists will have to make hard decisions about whether or not they can afford to stay in the business. I don’t mean to be a pessimist here, but I think we’re all realizing the next year or two will be tough. One positive way to think about it, though, is in ecological terms. When something dies and breaks down in the forest, it creates an opportunity for new life to emerge. Maybe out of these hard times, we’ll see exciting new companies form, young actors burst onto the scene in creative ways, and over scheduled directors and designers come back to their craft with a fresh approach. I sure hope so. 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? If you have the energy and the chutzpah to create something, I say go for it. I’ve been watching some stuff and it’s fun to see what folks are coming up with. But for me, watching a play on YouTube or a reading on Zoom underlines the ways in which theatre is—at its very core—a live experience. The magic happens when artists and audience inhabit the same space, at the same time. Until that can happen again, I applaud any attempts to stay connected to an audience. 9. Mark Crawford is a playwright and an actor. Is there one he prefers over the other? Nope! I love doing both. Acting and playwriting are challenging and rewarding in different ways, but they also inform each other. I find it funny when people want me to choose one or the other, as though wearing two hats is a newfangled fashion trend and not something people have been doing forever. As a 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? Hope 2. What is your least favourite word? Despair 3. What turns you on? Wit 4. What turns you off? Meanness 5. What sound or noise do you love? Waves lapping on the shore 6. What sound or noise bothers you? Important announcements over a loudspeaker in which you can’t make out a damn word the person is saying. 7. What is your favourite curse word? I’m a big fan of the curse phrase. For moments of personal frustration, a particularly evocative one I picked up in rehearsal a few years ago is, “Oh, fuck me with a rubber hose!” 8. What profession, other than your own, would you have liked to attempt? Baker 9. What profession would you not like to do? Banker 10. If Heaven exists, what do you imagine God will say to you as you approach the Pearly Gates? “You did good.” Previous Next

A talk with a professional artist about their career. Back Barbara Kaneratonni Diabo Looking Ahead Sylvie Ann Paré Joe Szekeres After an extremely frustrating start in getting my computer running and then Zooming in late with choreographer/director Barbara Kaneratonni Diabo, I had quite an informative conversation with this award-winning Mohawk and mixed heritage artist. I was pleased she wasn’t annoyed as Barbara said she experienced the same issues with her computer the other day in trying to connect on another Zoom call. She was smiling and I was most thankful she put me at ease immediately. Our discussion led me into a moment from our Canadian history of which I was not aware at all. Diabo examines this historical time in her upcoming production at Toronto Harbourfront’s Fleck Dance Theatre. To be honest I felt ashamed of my ignorance in not knowing or remembering this issue many years ago when I was a student. She told me I wasn’t the only one who felt like this. More about this Canadian historical event shortly. A press release I received announced Diabo’s: “long-awaited Ontario premiere of A’nó:wara Dance Theatre’s vital and potent work, Sky Dancers. The Montreal-based company was part of a production residency at Harbourfront Centre in 2019 and scheduled to make its world premiere with Sky Dancers in May 2020 when the pandemic hit.” Just like the other artists whom I’ve interviewed, Barbara reiterated these last three years have been an adjustment personally for her as well. Although she was able to work the whole time through Zoom and other digital platforms, she felt she had to adjust to being alone more as much of her social life is tied in with her work as a performing artist. But being isolated with her husband and child allowed her to do some private ‘looking in’ and tap into her Indigenous perspective and just simply be with and commune through nature. Her husband is considered an essential worker, so she and her child spent a lot of time together and her husband was able to join them when his work permitted him to do so. Artistically, Barbara says she is more grateful in being able to create with others once again albeit wearing masks, and she’s fine with that. There is an adjustment in learning how to be with others once again in a creative sense, yet every so often the realities of the pandemic creep back in for her. Nevertheless, she has learned to take things casually and deal with them when they occur. ‘Sky Dancers’ explores the impact of the Quebec Bridge disaster of 1907 which killed 33 ironworkers from the Mohawk community of Kahnawake. The community was well known for iron work which just hearing about this makes the story even more poignant. When the bridge collapsed while under construction, the fallout was felt around the world and the aftermath still echoes across generations today. Diabo’s great grandfather, Louis D’Ailleboust, died in the tragedy. And therefore I felt my ignorance that I did not remember this event. It's one thing to be able to narrate the tragedy of the bridge disaster. During our conversation, Barbara made an interesting comment about storytelling. Narration or telling in words focuses on an imposition of thoughts and ideas; dance, however, allows for an immediate visual interpretation for an audience to see. For Barbara, ‘Sky Dancers’ becomes a big scale in scope. The production was five years in the making. There is a large set needed with focused and specific lighting techniques required for effects. Barbara wants the audience to feel as if they are right in the action of the story as there is no separation between them and the performers on the stage. There are four parts to ‘Sky Dancers’ that tell a story: a) Before the tragedy we witness the Mohawk community life. b) We see the pride of the community in their iron work creation of the bridge. c) We will witness the tragedy of the bridge d) We will see the aftermath of the community where the women must clean up and learn to live without members of the community. What made this story even harder for me? The Catholic Church came in at this time to pressure the mothers to send the remaining children away to the Residential schools as it was felt the women would be unable to provide what their children required. For those who have no background in dance or movement, these specific art forms become universal at that moment in performance through the multi-faceted expressions of the artists. According to Barbara, it’s possible that if there are 250 people in the audience, each of them may walk away from ‘Sky Dancers’ with 250 different views of that story. That’s the magic of the allure of dance and movement. Although she was trained in classical ballet, Barbara felt she didn’t fit in with certain techniques of ballet and returned to the spiritual nourishment in her community to find her voice which fulfilled her personal need to dance. However, she assuredly pointed out that First Nations’ dance was discouraged for the longest time and ‘Sky Dancers’ will allow us to share the Indigenous culture with other communities. Given the last three years and the round table discussions of all performing artists here in Canada, it’s now time to share and see as many stories as we possibly can, and this includes all members of the First Nations and Indigenous communities. What are some key messages for audiences to leave with after seeing ‘Sky Dancers’ or about any First Nations and Indigenous stories? If anything, Diabo wants audiences not to see members of the Mohawk community as victims of this tragedy but the fact they survived it through their resilience and their strength as a community. ‘Sky Dancers’ honours those who died in the tragedy, their families, their descendants, and the community. I look forward as a caring Canadian to see this story of strength within the Mohawk community. ‘Sky Dancers’ will perform at Toronto Harbourfront’s Fleck Dance Theatre May 20-21 at 7:30pm and May 21-23, 2022, at 2pm in Queen’s Quay Terminal, Third Floor, 207 Queens Quay West. For further information and/or ticket prices, please visit www.harbourfrontcentre.com . Previous Next

A talk with a professional artist about their career. Back Brenda Robins Moving Forward Tim Leyes Joe Szekeres Even before I started reviewing for professional theatre, I had the good fortune to see Canadian performer Brenda Robins in many productions of Toronto theatres over the years. I continually like to make reference to Soulpepper’s moving production of Thornton Wilder’s ‘Our Town’ where Brenda performed along with some of Canada’s finest actors. Again, I saw Brenda in a thrilling production of ‘Dancing at Lughnasa’ at Toronto’s Canadian Stage Bluma Appel Theatre. She has also appeared in several Canadian television productions including CTV’s ‘Flashpoint’ (one of my top five favourite shows) and CBC’s ‘Heartland’. A bit of online research enlightened me that Brenda has appeared across our country in some fine shows and theatres. She and her husband, actor Patrick Galligan, live in Toronto. I will profile Patrick in another article shortly: 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? Mostly, I feel as though I’m in the middle of a ‘between gigs’ scenario. As actors, we are lucky in that we are not unused to being out of work from time to time. In the past, we have planned a vacation if we were looking at a stretch of time off. Now, a coffee with a friend, in a park, is a big adventure and something to plan my day around. Small things are taking on more significance. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? Not a one. Just before everything shut down, I had wrapped up several days on a TV gig out west. For that, I’m grateful because it put some extra money in the bank. Earlier in the year I worked on a web series that’s hoping to shoot a second season. I’m not sure when that is going to happen. 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 feel most frustrated for my son who has completed his Master’s degree and, under normal circumstances, would probably be working in his dream career. Now he’s applying for any kind of work he can get – along with thousands of other people. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? I’ve been doing a lot of sewing, gardening and writing: a kind of Bronte sisters’ existence. I’ve collected a lot of vintage fabric over the years and so I’ve been sewing cushions, cushions and more cushions. Couch candy, that I was hoping to sell at our local fall fair. The fair is not happening, and the cushions have taken over a room in our house and there seems to be no end in sight…. 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? That’s a hard one. I think the new graduates might fare well. Hopefully, they still have a burning desire and ambition and this period may prove to be a time of real creativity. I worry more for actors with young families and mortgages. I wish words of wisdom could ease their burdens, but I’m not convinced of that. It’s going to be a very difficult few months for some people. Sorry – not very sage advice. Do you see anything positive stemming from this pandemic? Some very creative new work is going to come out of this period, I’m sure of that. And maybe by the time we get back into our theatres we will have a greater appreciation of the power and potential of live performances. In your informed opinion, will the Canadian, Broadway and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? I just hope theatres survive. Time will tell. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? I think streaming is a different beast altogether. I’m enjoyed some of the work I’ve seen online, but it’s not the same as the experience one has watching a live performance. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? I look forward to performing again, in a theatre, with an audience. I find gathering in a space with a group of strangers and sharing a communal experience to be very moving. 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? It’s two words actually – ‘Quelle Emboutiellage’ which means ‘What a traffic jam”. It’s such a satisfying sequence of syllables. I like saying it to describe anything extraordinary (another good word) b. What is your least favourite word? I’m not sure…I mean, I really don’t have an answer for that. c. What turns you on? A really good action movie. d. What turns you off? Bullying…and impatience e. What sound or noise do you love? Waves f. What sound or noise bothers you? Car horns g. What is your favourite curse word? Fuck h. What profession, other than your own, would you have liked to attempt? If I had the talent, I would have liked to be a visual artist. Large canvases. i. What profession would you not like to do? A podiatrist. j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Head straight through to the left. Your friends and family are waiting.” Previous Next

A talk with a professional artist about their career. Back Patrick Galligan Moving Forward Tim Leyes Joe Szekeres Just like his wife, performer Brenda Robins who was interviewed earlier for this series, I’ve also seen Patrick Galligan’s work on stage many times. The first time I saw him on stage was in Soulpepper’s extraordinary production of its annual ‘A Christmas Carol’ where Patrick played Scrooge’s nephew, Fred, who invites the miser to Christmas dinner with a “Bah! Humbug!” in response. Recently Patrick was part of a truly fascinating production of ‘Oslo’ by Studio 180 at the Panasonic Theatre. Patrick has made many television appearances. Two were in ‘Republic of Doyle’ (another personal favourite) and Murdoch Mysteries. One of my goals as a reviewer for On Stage is to ensure there is coverage for the blog at The Shaw Festival. Even though I have yet to review productions at Shaw for On Stage, I’ve read about Patrick’s solid performance work in many of the productions there. Thank you, Patrick, for taking the time to answer questions via email: It appears that after five exceptionally long months, we are slowly, very slowly, emerging to a pre-pandemic lifestyle. Has your daily life and routine along with your immediate family’s life and routine been changed in any manner? It sure has. I moved from Niagara-on-the-Lake, where I was in rehearsals for my 17th season at The Shaw Festival, back to my home in Toronto. As a result, my wife, son, and our two cats have had to put up with me being around all spring and summer. Were you involved or being considered for any projects before the pandemic was declared and everything was shut down? We were a week away from our first preview of “Charley’s Aunt”, the opening show of Shaw’s 2020 season, and about to start rehearsals of Alice Childress’s “Trouble in Mind” at the time of the shutdown. Describe the most challenging element or moment of the isolation period for you. Did this element or moment significantly impact how you and your immediate family are living your lives today? The abrupt halt of putting on a couple of really good plays was a big challenge. I love the work of a theatre actor and I miss it terribly. Without it, there are times when I feel lost, at sea. On those days, my family is likely wondering if I will ever get out of my pajamas. What were you doing to keep yourself busy during this time of lockdown and isolation from the world of theatre? Since theatres will most likely be shuttered until the spring of 2021, where do you see your interests moving at this time? Fortunately, the Shaw Festival has insurance which has enabled them (with the help of the federal government) to keep us employed until the end of August. It has been a lifesaver in many ways: financially obviously, but also the opportunity to help create on-line content and to have the benefit of some much-needed training. Once that ends…………. Any words of wisdom or sage advice you would give to other performing artists who are concerned about the impact of COVID-19? What about to the new theatre graduates who are just out of school and may have been hit hard? Why is it important for them not to lose sight of their dreams? I thought it was tough to find work when I came out of theatre school thirty-two years ago, but I can’t imagine all of the challenges facing recent performing arts graduates, or artists trying to support a young family. The advice I would offer is really the same thing I try to remind myself: be patient, stay positive, read, exercise and stay connected to the people who inspire you and whom you can inspire. Do you see anything positive stemming from this pandemic? I have been able to spend more time with my family. There is no way to overstate what a joy, that is. In your informed opinion, will the Canadian, Broadway and Californian performing arts scene somehow be changed or impacted on account of the coronavirus? Without question. Gathering together in large groups to experience the performing arts will no longer be the norm. It will take a very long time before we can sit in a crowded hall and feel safe. What are your thoughts about streaming live productions? As we continue to emerge and find our way back to a new perspective of daily life, will live streaming become part of the performing arts scene in your estimation? Have you been participating, or will you participate in any online streaming productions soon? It’s not ideal to be sure, but I’m okay with it. We’ve done a fair bit of live streaming with Shaw since the shutdown, and I’ve found that there is a great deal that is lost in not being in the same room together. But since it is a safe way to share stories and experiences, I expect there will be a lot more to come. What is it about performing you still love given all the change, the confusion and the drama surrounding our world now? Steve Earle says that empathy is at the heart of being an artist. I love the possibility that, as an actor, I might be able to create a little more empathy and compassion in this crazy world. With a respectful nod to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the 10 questions he asked his guests at the conclusion of his interviews: a. What is your favourite word? Yes b. What is your least favourite word? No c. What turns you on? Joy d. What turns you off? Pain e. What sound or noise do you love? Laughter, and a super funky bass line f. What sound or noise bothers you? That high-pitched whine our 14-year old Toyota makes, which one day I know is going to be very expensive. g. What is your favourite curse word? Goddammit! h. What profession, other than your own, would you have liked to attempt? Carpenter i. What profession would you not like to do? Garbage collector – those people are heroes j. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Welcome, Pat. There are some special people here I’m sure you’ll want to see. By the way, rehearsals start at 10am tomorrow.” Previous Next

A talk with a professional artist about their career. Back Soheil Parsa “We have to create good art. It’s not diversity for the sake of diversity.” Credit: Aluna Theatre Joe Szekeres For the last three years, I have been trying to get in touch with Soheil Parsa for an interview, but I never knew where to turn. I wanted to learn more about this Iranian Canadian theatre artist and his vision. Thank Goodness for theatre publicity rep Suzanne Cheriton who made it easier and asked if I would like to speak with him about his upcoming direction of Aluna Theatre’s ‘On the Other Side of the Sea.’ I jumped at the opportunity. From his Factory Theatre bio: “Soheil is the co-founder and former artistic director of Modern Times Stage Company and has directed over forty productions for the company since its inception in 1989.” I’ve seen several plays he has directed, the most recent being Daniel McIvor’s ‘Monster’ and David Paquet’s ‘Wildfire’ (for which he won the Dora Mavor Moore Award for direction). Parsa started his theatre school training and received three and a half years at Tehran University, Iran, in the Faculty of Fine Arts, Theatre Department, prior to the Iranian/Islamic Revolution in 1979. After the Revolution, Soheil was in his fourth year. He was honest with me and said he was kicked out of the university because he did not support the Revolution. The other vital aspect also in play was his religious background. He and his family come from the Bahá’í minority under severe persecution. His journey from Iran to Canada was not an easy one. He fled Iran in 1982 amidst severe persecution due to his Bahá'í faith. He arrived in Canada with his family in 1984; he was twenty-nine then. Not knowing English, he faced the daunting task of learning a new language in a foreign land. Despite the challenges, he enrolled in an undergrad program and completed a second Bachelor of Arts in Theatre Studies at York University. His determination to learn English and continue his education in theatre reveals his resilience and passion for the arts. On a personal note, Soheil has never had a mentor. Directing has been self-taught, so he proudly states he never stops learning about the theatre. He’s always searching, seeking, and investigating different forms and traditions of theatre. He laughed (and so did I) that as we age, we slow down a bit in our learning. But Soheil doesn’t stagnate at all in the arts. One doesn’t stop learning, no matter what age. He believes artists must keep updating themselves. Although taking workshops is challenging since he continues to be busy directing, Soheil reads a lot about the arts and the theatre. He goes to see a lot of productions and watches the younger generation of theatregoers (whether on stage or in the audience): “New generations and different generations of people bring something different, and I think for [we] senior artists, it’s always important to stay updated. There’s no way an artist can stop and say, “I’m done. Now I’m perfect.” As an artist going forward, how does he feel about the state of Canadian theatre amid its changes in the last three to four years? Soheil agrees it has been a challenge in Toronto and across Canada. The industry hasn’t recovered entirely, but live performance art remains necessary in connection with others. It may take another couple of years to recover, hopefully without any more pandemics. He still believes that audiences will return to the theatre. Will there be further changes in the industry moving forward? “Definitely. When I started my theatre company (Modern Times) in 1989 with Peter Farbridge, the situation then wasn’t like what we are currently experiencing now. There’s no comparison. Yes, there was a bit of a struggle in the first ten years of Modern Times to produce and create shows because whatever I did was labelled as either Persian or multi-cultural, and I hated those words…Change is promising…There weren’t a lot of opportunities for artists like me back in 1989.” Change is also happening in the leadership within the theatre community, and that’s promising as there weren’t a lot of opportunities for artists of colour back in 89. Even though Soheil does see the changes for artists of colour, he also gets a bit worried because it’s not just about diversity for the sake of diversity. Art is the bottom line. Whatever artists promote or showcase must be exciting. Whatever is happening is fine, but as an artist of colour, Soheil believes he can speak the truth in saying we’ve gone to the far extreme on the other side now; however, he hopes in a few years that balance will be found in that artists will be supported for their work and for what they do. When he started Modern Times, he wanted to be recognized and supported for his work as an artist, not because he’s an Iranian-born theatre director. It’s not diversity for the sake of diversity. Theatre must keep growing and flourishing. We have to create good art. Theatre previews are always exciting. I’m looking forward to seeing Soheil’s next production as director for Aluna Theatre’s ‘On the Other Side of the Sea’ starting February 7 at the Theatre Centre. Written by Salvadorian playwright Jorgelina Cerritos and winner of the 2010 Casa de las Américas Prize for drama based in Havana, Cuba, the play is described on the Theatre Centre website as a powerful, minimalist drama celebrating courage, conviction, and life itself.” Aluna is thrilled to produce a play from El Salvador, representing the first time the company will produce a work by a Latin American artist not residing in Canada. The plot is not realistic, but the characters are real. There is a fisherman with no name and a civil servant at her office desk, oscillating between loneliness, memory, and reality on a journey toward human connection and renewal. Beatriz Pizano and Carlos Gonzales-Vio will appear in this Canadian premiere. Rehearsals have gone well. Soheil says he’s lucky to have them for this premiere. He has worked with Beatriz and Carlos before. He calls them generous. Although the process of exploring during rehearsal wasn’t easy at times, the actors kept exploring the text and what lies underneath it. They know how much Soheil values subtext and its importance, so that has been rewarding overall for everyone involved. Any play has to be challenging for everyone involved, not only for the actors but for everyone involved. If it’s not challenging, what’s the point of doing it? Parsa calls ‘On the Other Side of the Sea’ a remarkable, poetic, magical, and fascinating piece. The influence of the Theatre of the Absurd on the play is undeniable. He was introduced to the play before the pandemic by a friend who told him: “Soheil, I know your work. This is your play. You have to direct it.” When he first read the play, Parsa was confused about what was happening. When he read it the second time, he fell in love with the “lyrical beauty of the words and the evocative style. The play is deceptively simple. It’s about hope, and that’s what fascinates me about it.” In Parsa’s words: “Simplicity is simple. You have to achieve it.” As we began to wind down our conversation, I asked what kept Soheil still excited about the theatre: “The live connection between the audience and the actors. I think that’s the most irreplaceable art form. We don’t have any art form like theatre to have this direct, live human connection between the creators and the audience. That’s what fascinates me the most. The theatre will always survive no matter how far we advance in the digital or YouTube world.” What’s next for Soheil once ‘On the Other Side of the Sea’ finishes its run? There have been requests from theatre schools to direct their shows. Last year, he directed two shows, one for Humber and one at the University of Ottawa. This year, he is teaching part-time at Brock University. Next fall, he will direct a show at Brock University for fourth-year students. Nothing has been finalized yet, but there is a possibility he might be directing for Tarragon Theatre. ‘On the Other Side of the Sea’, presented by Aluna Theatre, runs February 7 – 25 at The Theatre Centre, 1115 Queen Street West. For tickets, call (416) 538-0988 or visit theatrecentre.org. To learn more about Aluna Theatre, visit their Facebook page or website: alunatheatre.ca. Previous Next

A talk with a professional artist about their career. Back Nigel Shawn Williams Self Isolated Artist Tim Leyes Joe Szekeres I’m sure each of us will remember certain productions of plays that have touched our hearts over the years. For me, this would be the Stratford Festival’s engrossing and moving production of ‘To Kill a Mockingbird’ in 2018. I reviewed the final preview as I could not make the opening. It was a school matinee and there were several groups there. I remembered over the years being in audiences where there were students and wondering how they would respond. Like me, many of the students around me had tears in their eyes at the conclusion. Most of these kids were on their feet at the end to give the actors a well-deserved standing ovation. It was an honour to have interviewed the director of this production, Nigel Shawn Williams. During our Zoom conference, he let me know just how appreciative he has been of the compliments he received in 2018. Nigel explained how there are certain opportunities one gets as an artist and director to create change. What made ‘Mockingbird’ so successful for him was to show the contradiction in the story of the human being and to bring out the racism and misogyny in the story. Nigel thrives in telling stories like this. I certainly hope that I will get a chance to see future productions directed by him again once it is safe to return to the theatre: 1. How have you and your family been keeping during this nearly three-month isolation? I know, it’s been nearly three, three and a half months. We have a contract as citizens with our community and our country to remain isolated. It’s a responsibility. Yes, sometimes it’s inconvenient but not overwhelming but it’s how you put it into perspective. We’ve been okay, but in the grand scheme of things historically, Joe, this is not a big deal. Being asked to do what we’re asked to do. It’s not overwhelming as it depends on the perspective in which you put it. This contract we have with the pandemic – it’s something we have a responsibility for. On a very personal and blasé note about my family, we still have a great sense of humour. We’re able to spend a lot more time with each other. We laugh and joke. We get out in the forest and walk. So, it’s been okay. 2. What has been the most challenging and difficult for you during this time personally? What have you been doing to keep yourself busy? I guess, it’s a focus. Taking away the industry of film and television and theatre where the hardest thing is waiting for something that I don’t know what I’m waiting for. I’m very work focused and agenda driven, and this not having any sense of work on the horizon or not knowing what that’s going to be has created a sense of unease. I’m a husband and a father and so there’s the concern of financial security of keeping the house, the car running, not going into debt, making sure there are groceries. We’re not in debt, but like every other Canadian there’s a finite amount of savings, if you have savings at all. To keep busy around the house, the list around the house is pretty much nonexistent. Every project around the house from windows which have no mould, they’re re-caulked, everything that’s needed to be re-painted or sanded. My deck’s re-finished. I could put this baby on the market right now. It’s staged. These two parts of the question go hand in hand. I need a project to do. This isolation and quarantine have allowed me to not look outward but to look inward to look inside my home, inside my family, helping kids with their online learning. It’s trying to stay buoyant but at the same time honest with our kids and the reality. I’ve been working around the house and trying to make sure that everyone around me whom I love is as buoyant as possible. 3. Were you involved in any professional projects when the pandemic was declared, and everything was shut down? How far were you into those projects? Will they come to fruition sometime soon? I had just finished a project. I directed the Canadian premiere of ‘Controlled Damage’ by Andrea Scott at the Neptune Theatre (Halifax). ‘Controlled Damage’ was the last full production staged by the Neptune. My company was able to finish the run at the end of February and then just after that everything hit. So, I was very fortunate. My project was completed. On the other hand, my wife was in a run at Theatre Aquarius that was cut short. I know many colleagues, acquaintances and friends who had their contracts cut short, but I was very fortunate that my company family was very fortunate to be able to finish their run. 4. Some actors whom I’ve interviewed have stated they can’t see anyone venturing back into a theatre or studio for a least 1 ½ to 2 years. Do you foresee this possible reality to be factual? Well, yeah, I do. Whether or not I like to admit it or not, I think the live performing arts of orchestra, opera, dance, narrative theatre will unfortunately and probably be one of the last industries to open up. I know there is a lot of conversation with Artistic Directors, PACT, and Equity on how to do this safely not just for our patrons but also for our artists. It’s a difficult task. There are theatres in this country not being supported by this government as much as any other countries around the world, it’s difficult for them to sustain themselves on a 30% house. Self isolating an audience is difficult. What I’m concerned about is that we start programming for only one-act plays so we don’t have intermission. We don’t have to worry about how the audience mixes and mingles, but I’m afraid that this is going to be a reality. I think it’s not just the logistical reality of how to have patrons in a theatre or how to have your artists safe in rehearsal or stage management, and your designers safe; it’s also giving the audience, the patrons and the general public the confidence and the want to come back into the theatre. And this is going to take time. The audience does want to take part in that community and to hear and see stories and to share that same energy. Audiences do want to come back, but it’s going to take confidence to be built around the sense of gathering. 5. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact, either positive or negative, on the Canadian performing arts scene? There will be an impact financially. In the larger ideological sense of what I believe theatre to be, theatre will always come back. Theatre was our first newspaper and it will be our last. The sense and the culture and the need for story telling will always be there. The shared experience of energy between performer and audience is something that we’re all just connected and wired to and we need that, and I don’t think that will ever go away. The impact of what we’re going through right now is in danger of jeopardizing a lot of smaller independent theatre companies and mid size theatre companies that don’t have the donorship and stakeholders that the larger ones have. I’m very fearful of a lot of our theatres right now staying financially healthy through all this into next year. It’s a many pronged answer to this question. Of course, it’s going to impact the writing that is going to come out, the creative process and sense of creation, and how we go back into rehearsal and how we create in that cozy environment is going to change itself. I think it’s going to circle back around to the power of storytelling that is community, and there’s a necessity to tell stories about love. And it’s very difficult to tell stories about love when you’re six feet away. Hand in hand with the confidence that we, as a society, have built up to get back into the theatre, so will the confidence be regained telling the stories as is necessary. 6. Do you have any words of wisdom to build hope and faith in those performing artists who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? Well, I don’t think any artist that has been working in the industry requires sage advice right now. It’s been three months, and everyone has been surviving it and going along with it. If anything, I’m an individual that requires everyone to maintain their responsibility in this. For the next generation of artists coming out of school and graduating and confronting this what seems an immovable roadblock, I think the best thing for them to do is to stay engaged. Stay engaged as human beings. What is happening with the pandemic right now, I think, is hand in hand with the focus that our citizens are going through with the anti-racism protest. I think this bubbling of energy is necessary. There’s an incredible amount of witnesses right now that are focused and will not lay down anymore when the system betrays them again. So, the young artists that are coming out and can acutely learn that the other artists that have been speaking out about injustices, misogyny, and racism backstage in the workplace. The kids at school coming out have probably experienced this and they don’t feel they have a voice. Coming around to the simplest answer to your question, I would encourage all young artists to remember they have a voice, and to not be silent, and to never be silent. 7. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? My relationship with the performing arts hasn’t changed because of this. I still need to tell stories. I still need to feel that I have a responsibility to right wrongs, to uncover indignities and injustices in our society. The plays I mostly am attracted to when I direct are ones that are combative to a great degree of the status quo to a system that is built to keep people under. My need to tell those stories hasn’t changed. On a professional level, it has become a little bit more precarious about when or if there’s going to be work. The sense of sharing a story and having the ability to have someone in the audience question what they believe or believed, how they engage with another human being, and the power that can create, and that we have the artists to do that. That is a change, and that’s what energizes me, and that’s what I’ve love about it. And that’s what I’ve always loved about it. The other thing that energizes me about the performing arts and theater -I love the collaboration in doing theatre. I love not being the smartest person in the room and letting others shine, let the designers be artists and let actors make mistakes in a free and safe space to work is something I cherish. That’s what energizes me. With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: 1. What is your favourite word? Delicious. 2. What is your least favourite word? The ‘N’ word. 3. What turns you on? Insight. 4. What turns you off? Ignorance. 5. What sound or noise do you love? My family laughing. 6. What sound or noise bothers you? When someone snorts their own snot. I hate that! Absolutely hate that! Use your thumb or get a tissue. 7. What is your favourite curse word? Fuck! I love that word. (Nigel and I shared a good laugh over his answer) 8. Other than your current profession now, what other profession would you have liked to attempt? An ophthalmologist. I’ve always been fascinated with the eyes. 9. What profession could you not see yourself doing? An ophthalmologist (And again, Nigel and I shared a good laugh over his answer). 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Shaken or stirred?” I would think he would offer me a drink. I think God would assume I’d like a martini. My life’s not going to turn off just because I go to heaven. Twitter: @NswNigel. Previous Next

A talk with a professional artist about their career. Back Charlotte Moore Moving Forward Zak Kearns Joe Szekeres The first time I saw Charlotte Moore’s name was in the early 90s up at Town Hall 1873, Port Perry, Ontario. I saw her headshot on the wall, and someone had told me she had given a concert there sometime earlier. It was in 1990 when I had travelled with the Borelians, a local theatre group from Port Perry, to see a live production of ‘The Rocky Horror Picture Show’. I had seen it on film but never done live. I’ll always remember being told during a live performance of ‘Rocky’, the audience could shout whatever they wanted but not to throw things. It was in this production where I saw Charlotte play Janet. That year, Charlotte won the Dora Mavor Moore Award (named after her grandmother) for Janet. And I missed seeing the extraordinary production of ‘Cabaret’ at London, Ontario’s Grand Theatre in which Charlotte appeared. Darn it all! This production was slated to tour the show, but who knows what will happen with the theatres closed. I really hope I get to see this particular production. From one of her answers, you’ll see Charlotte has appeared at Drayton. I haven’t been there to review productions as of yet, but am hoping when it is safe to return to the theatre. Charlotte answered the questions via email. Thank you so much for participating: It has been an exceptionally long five months since we’ve all been in isolation, and now it appears we are slowly emerging to some new way of living. How have you been faring? How has your immediate family been doing during this time? I was alone for all of lockdown and that was very challenging. About a month ago my daughter moved back in with me so now I have someone else to cook for, which is vastly preferable! My other daughter was in that 4th year class at Sheridan that got shut down on Friday the 13th. They were all pretty devastated by the way their last year was cut so short and their final productions cancelled. I found in the beginning I was very skittish about going out, and when I did the number of people not observing protocols was maddening! I did a lot of driving for the Sewing Army that Diana Coatsworth formed to make PPE for hospitals, Homes, Clinics, etc, and then I borrowed a sewing machine so I could make the masks and scrub caps in bulk myself (a typical order would be 25 scrub caps or 50 masks). This really gave me a sense of purpose and made me feel much better about things. Felt like I was contributing instead of just hiding. As a performer, what has been the most difficult and challenging for you professionally and personally? All the cancellations. The friends I won’t/don’t get to see, the stories we won’t get to share. Also, as a person who was living alone until very recently, the lack of the companionship you get at work was pretty devastating. 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? Oh, yes. I was supposed to do “42nd Street” for Drayton (one of my favourite places to work) - we were gonna play Cambridge and then July in Grand Bend (which is spectacular that time of year). With a director I adore. All these very large singin’ and dancin’ shows will be, I’m sure, the last things to come back. Don’t know how long we’ll have to wait for that. Probably a couple of years. Quite bummed about it. And we were going to go back into rehearsal next month for the remarkable production of “Cabaret” we did at the Grand Theatre last year for a national tour! That’s been “postponed”, but I honestly don’t know how we can do our Show in the New Reality – it was VERY interactive. We were on top of and in the midst of the audience, so... What have you been doing to keep yourself busy during this time? As I said – making and delivering the masks and scrub caps to all the various places that have requested them. I also am learning the script for an existing one-person show to keep my mind working. Going on weekly Distance Walks with various friends – that really helped with the isolation. I also have done a great deal of Zoom Yoga! My favourite teacher works out of Charlottetown... 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 truly wish I had some advice to give! And the message I gave my daughter was: “This really sucks! What a way to have to start your journey – with everything on hold! It sucks!” I will tell you that the same daughter has decided to devote this time to her Side Hustle – she's going back to school for the next year to get a diploma in a practical field – she's getting her Esthetician’s Licence! I think that’s genius! So maybe that’s my advice – we all need to find another purpose. Maybe it’s just some way to make some money, but this being in Limbo thing is very bad for our mental health. Do you see anything positive stemming from Covid 19? All the revelations that are coming out about the systemic racism in our industry have been shocking and necessary. Very necessary. So we can’t go back to that. And maybe we have all learned to be a little kinder to one another. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene? Definitely. It’s a very scary time, with entire seasons of large Arts Organizations being cancelled. I think a lot of people may be forced to find other industries to work in, which makes me very sad. But I do feel that this strange time has given everyone out there a stronger appreciation for the Arts in general. I really do. 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 was a huge watcher of livestreams when the whole thing started. They kept me company in a very lonely time. I’ve kind of started thinking of them as a separate art form, to be honest. They can’t replace live anything, but they are a platform for people to at least make some music! That being said, I do worry about giving it all away for free... Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? All of it. It may have put all our lives and careers on “hold”, but it can never take away the shows we’ve already done, the music we have already made. I am grateful that I’m older and have so many great experiences to look back on. I feel really badly for the young people – like my daughter – who were just starting out and have had to jam the brakes on. Doesn’t seem fair at all. Previous Next

A talk with a professional artist about their career. Back Elena Belyea "Anything can happen, which means everything is possible." Courtesy of the artist Joe Szekeres Elena Belyea is the Artistic Director of Tiny Bear Jaws, an agile, femme and queer-run cross-Canadian theatre company. Founded in 2015, Tiny Bear Jaws produces innovative, provocative, and engaging new works. It is committed to exploring the creative possibilities that exist exclusively in live performance. Tiny Bear Jaws creates theatre that’s transgressive in content and form. Past shows: Miss Katelyn’s Grade Threes Prepare for the Inevitable; Everyone We Know Will Be There: A House Party in One Act; Cleave; The Worst Thing I Could Be (Is Happy); I Don’t Even Miss You; and This Won’t Hurt, I Promise. Recently, I had the opportunity to email performer Elena Belyer questions about their artistic work and background. Belyea opens at Toronto’s Factory Theatre this week in ‘I Don’t Even Miss You.’ The show runs at Factory Theatre from October 31 to November 10 in the Studio Theatre. It then travels to One Yellow Rabbit’s High-Performance Rodeo in Calgary (co-presented by Verb Theatre as part of their 2024/2025 season). According to the Factory Theatre website, the story centres around non-binary computer programmer Basil who wakes to a new world and devastating loss. Using live music, dance, and video, I Don’t Even Miss You is a bold exploration of grief, love, artificial intelligence, and legacy that asks how gender, identity, and family can exist without anyone to perceive them. Belyea completed undergraduate work in Drama and Creative Writing at the University of Alberta before attending the Playwriting program at the National Theatre School of Canada. What is it about the performing arts that continues to keep Elena focused and interested? Whenever Elena watches or performs a play, one of their favourite parts is the knowledge that a particular moment or scene may or will never happen quite the same ever again, even if it’s a recording or coming back to watch something the night after. For Elena: “Something happens.... we’ll experience it together, then it’s gone forever. I find this really exciting. Before I step onstage, no one, not me, not the audience, knows for sure what will happen. We have an idea, but nothing is guaranteed. Anything could happen, which means everything is possible.” In profiling the artist, I also like to ask who in their own lives has either influenced or mentored them up to this point. Belyea was pleased to share the names of some mentors: Michael Kennard, Christine Stewart, Derek Walcott, Tedi Tafel, Haley McGee, Karen Hines, and Adam Lazarus. They also named artists whose work and writing they are inspired by right now: Makambe Simamba, Young Jean Lee, Anne Carson, Kae Tempest, Sophie, and Nick Cave. I’ll review the Sunday matinee performance. on November 3. The press release for the show calls the production ‘dystopian pop.’ I was intrigued by this label and wanted to know more from Elena about it. They shared the concept of the show. Protagonist Basil exists in a fictitious world where everyone else on Earth has disappeared – hence the word ‘dystopian.’ Basil creates and is now performing an autobiographical play about their life. After a thwarted attempt to star in a musical during their teen years, Basil decides the only way to summarize accurately their chronology is through narration, self-recorded videos, dance, and (pop) songs. Audiences can expect synthesizers galore, boy band motifs, choreographed melodrama, and an electric ukulele from the performance. Whenever Elena starts writing a play, a series of questions comes to mind rather than messages. I find this interesting myself—questions instead of comments. What are some of the questions Elena asks of audiences in ‘I Don’t Even Miss You?’: “What is a legacy? Can love, identity, and family exist with no one to perceive them? Is it possible to develop technology that could replace human connection? What are the physical, psychological, and spiritual impacts of loneliness? How does Basil’s transness inform the play’s content and form? “ Some heady questions, indeed. I’m always a fan of audience talkbacks about these kinds of questions. There is a talkback with the audience on November 3. I like to stay for these as I learn more about the show and the artist. Elena clarified that ‘I Don’t Even Miss You’ had a run of a very different nature in 2022. It ran again in Ottawa in 2024. But it’s hard for Belyea to know how the audiences will react. Their favourite part of the show is “Listening to the audience’s reactions and trying to identify what is landing when.” Once again, Elena clarified there were moments in Ottawa where an audience member would make an unexpected sound in reaction to something happening. Elena finds that impactful as the show's writer, the performer and the character at the moment. The life of a travelling performing artist can be tiring and exhausting. To be honest, I don’t know how these young people do it. What’s next for this ambitious young artist once ‘I Don’t Even Miss You’ concludes its run: “First and foremost— rest. I’m fantasizing about wrapping myself in a thousand blankets for a week at least, napping, reading, and playing non-stop video games with my partner and dog. After that, I will begin prep for “I Don’t Even Miss You” in Calgary and re-learn how to knit.” To learn more about Tiny Bear Jaws Theatre: www.tinybearjaws.com . To purchase tickets for ‘I Don’t Even Miss You’ and to learn more about Factory Theatre, visit www.factorytheatre.ca . Previous Next

A talk with a professional artist about their career. Back Louise Lecavalier "Dancing was never about telling stories for me. It was about finding and touching our essence as beings. This is a long journey." Massimo Chiaradia Joe Szekeres Artist Louise Lecavalier has been described as a rebel on stage. She has created her own category of contemporary dance. Her frenetic, athletic and technical moves are daring and riveting. She is deliberate in the selection of music for her productions for their escalation in musical intensity. Since founding her own company, ‘Fou Glorieux’, in 2006, her movement research has been symbolic of her entire career, emphasizing the surpassing of limits and risk-taking, a search for the absolute in which she seeks to bring out the “more-than-human in the human. Lecavalier will perform her solo show ‘Stations’ November 23-25 on the Harbourfront Centre stage. Harbourfront calls the production her most personal work to date. ‘Solos’ marks the first time the Order of Canada recipient has performed a solo show of her own choreography. She is one busy lady right now and I was thankful she had the chance to answer some questions via email before the production opens. OTV: You have had quite an illustrious career as an artist. What is it about the art of dance that still connects you to tell stories to an audience? LL: Adolescent. Dance caught me in the flight. When I discovered dance, on top the pleasure of improvising freely and learning steps from others, I saw a beauty in it that came from those incredible possibilities to expand the body in unexpectable ways. i I thought also that dance was capapabe to express something that went beyond what was measurable in sports, or the simple valoriation of specific aspects of one’s morphology. Strangely or not strangely with time, I think I am even closer if possible to my most inner impulse to dance. I might have been at the beginning too caught up by my admiration for the technical aspect of it and the dancers I saw dancing. They were to me like the most beautiful animals. And I wanted to be in their world Over time, dance has become wider and more personal. My appreciation of the human boday for its natural sense of dance has expanded. While still dancing I do not think of myself so much as a dancer now but as a someone who dances. I see dance everywhere and I want to dance atom like. Dancing was never about telling stories for me, it was about finding and touching our essence as beings. That is a long journey. OTV: In your professional opinion, does one need to have a specific educational background or training to appreciate the art form of dance? LL: I hope that is not necessary. You like a dance or you don’t. Same with music. Same with painting…it touches you or it doesn’t. In the end, happy or not with a live show that you saw, some trace is left. It can be questions, it can be awe, it can be that your recognize your whole life there, or your hopes, your ideas, or you simply had a good time and forgot your personal worries. Education in art starts by seeing a first thing…then a second one..And art informs about the other art forms, and informs us of something without our knowledge. OTV: The title ‘Stations’ intrigues me. What is it specifically about your upcoming Harbourfront performance that you want audiences to remember about the meaning of Stations and stations in life? LL: I never think about what I want people to remember from my shows. Hum…Maybe I should ask myself this question. Or maybe not. I bring a dance on stage with no big hopes about others, but I do everything I can prior to coming on stage to arrive with the best possible version of the dance. Most clarity or most precision or most liberty or wildness. Lots of practice and re-thinking the piece over and over, this I can do, but expect something or impose an idea to the audience I cannot. I take the chance that dance talks a real language by itself and that it doesn’t need any explanations. Being on stage with a work that is an opportunity to share some humanity. ‘Stations’ is a solo, and I have to my own surprise…already 45 years of dance behind me, so the piece speaks of a journey, a dance journey. It holds many stories but the sum of the stories for now is this dance named ‘Stations’. Until the next work. OTV: Who has mentored you along the way in your career? LL: No one has officially mentored me. The person I have been the closest to and with whom I developed and expanded myself the most is Edouard Lock. All the 18 years that we worked together I had tremendous admiration for him as a choreographer, and as a thinker, not only for dance but in general. When you work so close to someone maybe you cannot see thisp person as a mentor. We were friends, colleagues and lovers. We shared. I feel like I learned so much from him. I gave to our research everything I had. I was in a perfect mode of discovery and I didn’t hold back anything. All was given for free, all was taken freely and there was no game of power or superiority. There was already lots of laughs and sweat. Having a mentor seems too serious when you are already deeply serious inside. Others who have influenced me through rich connections are Tedd Robinson and Benoit Lachambre. OTV: What words of professional advice would you give to young dance artists just beginning their careers and to their training grounds of dance? LL: Advice I give only one to one, and even then I am never very sure of its importance. I asked no advice from teachers or performers in the dance world. I took my advice or inspiration in my readings and discussing with people from dance and from other disciplines, day to day life, observation and mostly in dancing out of my skin. I took dance classes, and it sent me in one particular direction. I stopped taking dance classes and it sent in other directions. I moved on and on, but I always kept dancing. Injured or when pregnant, I dance in my head if I couldn’t dance so much with my feet So what kind of advice to give? Each dancer has to find his or her own liberty. ‘Stations’ runs November 23-25 in the Simon Fleck Dance Theatre at Toronto’s Harbourfront Centre, 207 Queens Quay West. For tickets, visit harbourfrontcentre.com. Previous Next

A talk with a professional artist about their career. Back Sugith Varughese Self Isolated Artist Ted Simonett Joe Szekeres As I have been posting these “Artist Profiles’ series on social media, I have been seeing some names appear underneath who are liking or loving the article. Some of the names and faces I’ve recognized and some I haven’t. When I saw Sugith Varughese’s name and photograph, I kept looking at both and wondering where have I seen this gentleman before? And then it dawned on me. Sugith Varughese appears in a recurring role in the wonderful CBC comedy ‘Kim’s Convenience’. I also had the chance to see him perform in two memorable productions of ‘Men in White’ at Factory Theatre and ‘Animal Farm’ at Soulpepper. When I kindly asked him to send me a brief biography of his education and training, Sugith’s highly impressive and professional account speaks for itself. What struck me about his high caliber of work is the fact he was the first graduate from Canada’s first MFA program in film at York University and the first minority writer-director of the prestigious Canadian Film Centre’s feature film programme where his short thesis film ‘Kumar and Mr. Jones’ was the first CFC film nominate for a Genie and went on to win three international awards. Previously I’ve mentioned how I’d like to have a beer sometime with Norm Foster and a glass of wine with Bruce Dow and just talk to these guys. I’d have either a beer or wine with Sugith Varughese sometime soon (and I hope he would feel the same way too) and just talk to him about everything and anything. We conducted our interview via email: 1. How have you and your family been keeping during this two-month isolation? My spouse and I have been stuck at home as her business is hair and mine is the arts, and they both have shut down indefinitely. I think we’ve been managing pretty well, and we are lucky to live in a place large enough that we’re not in each other’s faces. I think late March through April was the hardest as the weather sucked in Toronto and we are trying to go on long bike rides or walks once a day, (masked of course.) Otherwise it’s a lot of reading and obscure cooking shows on some streaming service or another. Missing all social contact desperately. All things considered; it could be much worse. 2. What has been most challenging and difficult for you during this time personally? What have you been doing to keep yourself busy? To be honest, fear of what we will face if or when our industry starts again. One of my great pleasures in working comes from the way theatre or TV or film create an instant family. That family has a kind of professional etiquette that I fully understand, endorse, and get great joy in participation by having worked long enough in the industry. I mean, we hug as colleagues. I appear in CBC’s ‘Kim’s Convenience’ and our number one, Paul Sun-Hyung Lee, hugs every single person on the set before he leaves for the night. There’s all sorts of behaviours that I took for granted over the last 30 years of my career that I won’t be able to any longer. So, I stay up late wondering what our future will be like and even if we will have a future. Keeping busy has been a problem. I have had a few voice auditions since the quarantine began, but otherwise, most of my work has been responding to interviews such as yours. So hardly a full-time activity! I was writing a new spec screenplay when Covid hit and I have been working on that as well, but that’s difficult because it’s set in a hospital and I just don’t have a clue what that will mean post-Covid. So, are creators making period pieces set in 2019? Or do we speculate on a new post-Covid dramatic story world we don’t know about yet? In the face of this existential questions, I retreat to the occasional cooking show. 3. Were you involved in any professional projects when the pandemic was declared, and everything was shut down? How far were you into those projects? Will they come to fruition sometime soon? Professionally, has Covid changed your life regarding all the work you have completed or may have had planned? I was in rehearsal for ‘The Seagull’ at Soulpepper in Toronto when the pandemic shut us down. We were just about to go into tech. We had one run through of this incredible play, (it was a new translation by Simon Stephens that had been done in London 2 years ago), in our rehearsal hall before we got the news that we were cancelled. I’m sure Soulpepper would love to reprogram the play but it’s difficult to know whether they could get the same cast together. And they may have moved on from the themes of the season that got cancelled by the time they can restart their programming. After all, so much has happened like the #blacklivesmatter movement that may be part of any new season for all I know. I would also have been filming season 5 of ‘Kim’s Convenience’ now and hopefully season 2 of ‘Transplant’. Both are TV series where I have recurring roles but, like all TV production, have been suspended indefinitely. Covid has frankly brought my career to a grinding halt with no word if or when it will be restarted. 4. Some actors whom I’ve interviewed have stated they can’t see anyone venturing back into a theatre or studio for a least 1 ½ to 2 years. Do you foresee this possible reality to be factual? It’s impossible to know when it will be “safe” to return to work. I suspect we are facing, absent a cure or a vaccine, a new normal where we will have to live with Covid in our every day lives, let alone professionally. I think if actors are saying they won’t work until there’s a vaccine, then 2 years is possible, but who knows? We’ve had AIDS for 30 years with no vaccine. So it may never be “safe” to return risk free. I am preparing to return to a new way of doing things, and I think it will be sooner than two years, only because I am part of ongoing enterprises in my TV series that have far more people than me determined to see them return. But it won’t be the same as before and I don’t know what it will be like. But the issue for theatre: it’s not just actors who need to be safe, but also the audience. And that raises a whole bunch of questions. If you are in the lobby before a show at Soulpepper, you are as far as possible from social distancing as you can be. Even if seats were able to be removed in the theatre to enable the audience to be spread out, how do they assign tickets or use the washroom at intermission? And even if that can be resolved, how do theatres survive with every other seat taken out so the theatre can only have a maximum 50% house? What business model will enable that? That may have more to do with a return to work in the theatre than any risk in the rehearsal hall. 5. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact, either positive or negative, on the Canadian performing arts scene? I think the risk to our live performing arts scene is truly frightening. The fine arts, theatre, dance, opera and symphony are not popular like professional sports. They always needed assistance even if they sold out. If social distancing must be our new normal, I don’t know how the performing arts survives. I mean, salaries for actors in the theatre are minimum wage level for many. If you’re lucky enough to work at Stratford or Soulpepper it’s a bit more than that, but if they lose half their potential audience to social distancing, how do they pay Equity rates? Or any of their current union costs? Do the unions then lower rates? I couldn’t afford to do theatre at all if that happened. The other interesting question is how Covid affects the arts creatively. We are in the middle of a war now, but will creators feel compelled to make art about this war? Will audiences want to see that? Or will they want to escape from what they went through? I know that right now, I don’t want to experience dark content. It’s hard on my heart and soul when I know so many are in pain or struggling. I’m not able to project myself into something dark right now. But we need that kind of art too. But will we be able to take it in? I have way more questions than answers now. 6. Do you have any words of wisdom to build hope and faith in those performing artists who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? The arts are not for the faint of heart at the best of times. But for those who have been hit hard as a result, I just hope they know they aren’t alone. We have all been hit hard. The difference lies only in the resources we each have to cope with all this. I know that financial, psychological and spiritual assistance is out there, and artists need to reach out and accept that help if they need it. (I’m talking about things like the AFC, CERB, CAMH.) This is a tough time for all, and no one should feel they need to be a hero. This WILL pass and we need to take care of ourselves and each other so we are ready once it does. I hope my friends and colleagues feel they can reach out to me and I know that I will do the same and that’s where the hope lives. As for sage advice for new theatre grads, well, I don’t know if I have any advice, except to say that everyone’s story is different, and you are the lead player in the story of your life. Use this time as best you can. One thing I feel is terribly lacking in young entrants into the arts that I meet is a lack of real understanding of what’s gone before. A lot of people try and reinvent the wheel. But when I would teach young people, I found that their terms of reference were often so shallow and limited due to a lack of well, reading, and comprehension that much of my teaching involved getting them to read the great plays. I can’t tell you how to get work, but I can tell you that if you read the Greek plays, Shakespeare, Chekhov and restoration comedies between the time you graduate and your first audition, you will be far more prepared to work than those who didn’t. Read. Study. Learn what you didn’t think you had to learn or didn’t have time for or didn’t care about when you were in school. I guarantee you didn’t read enough while you were in school so now’s the time. I once had the chance to go to dinner with Ben Kingsley and Bruce Myers (one of Peter Brooks’ company who sadly recently passed from Covid.) And as the dumb colonial at the table, all I could do was listen as they told stories about playing Shakespeare and traveling with Peter Brooks’ company and understanding the literature of their profession in a way that most scholars did not. It was breathtaking and I realized how much they brought to the work because of what they knew. There’s no excuse for a recent grad not to bring themselves to that level. And it will give you something concrete to do. Action is character. 7. 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 work in film and TV most of the time and I do a play every year, so I feel qualified to comment. While streaming may be a critical way of keeping theatre present during quarantine, it isn’t theatre. There is no theatre without an audience, a live audience in the room with the actors. Every show I’ve ever done was different each night because the audience was different. I always felt I could pick each audience member out of a police lineup. I’d often come in at intermission with a compliment of someone in the 4th row who was laughing at the right time or complaining about the guy in the back who kept coughing right on my good line. It’s an intimate relationship and actors aren’t kidding when they tell someone, they were a good audience. If theatres resort to zoom monologues as their new season, I understand why they must, but it’s not theatre. It’s a film, I suppose, which is also a legitimate art form, but it’s not theatre. I hope it’s not the new normal for Canadian theatre. I hope we find a way to have live performances for live audiences again. 8. What is it about the performing arts that still energizes you even through this tumultuous and confusing time? Well, I love acting. I love writing. I love directing. The hope to be able to do that is what got me through my career. I didn’t need Covid to have long stretches of unemployment. After I was in the business for 10 years, I added up the number of days I’d been on set for something I acted in, wrote or directed. Because that’s all I wanted was to work. Be on set or on stage. In some way. After ten years, I counted that I’d had 75 of those days. 75. In 10 years. That was it. And that was enough. I am energized at the possibility of working, just as I always was. 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? Home 2. What is your least favourite word? Never 3. What turns you on? The blank page 4. What turns you off? Pretension 5. What sound or noise do you love? A baby’s laugh 6. What sound or noise bothers you? A bomb blast 7. What is your favourite curse word? Jesusfuck 8. Other than your current profession now, what other profession would you have liked to attempt? An astronaut or a heart surgeon or a chef 9. What profession could you not see yourself doing? Working on the pork cut line in a meat packing plant, (only because I did that in the summers in university and it cured me of ever wanting to work for a living.) 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “There are a lot of people who want to meet you, and your dad is over there.” To learn more about Sugith, visit his website: http://sugithvarughese.com . His Twitter handle @SugithVarughese includes interaction and stuff about ‘Kim’s Convenience’, ‘Transplant’ and post progressive political tweets. His Instagram handle @sugithvarughese and Facebook: https://www.facebook.com/SugithVarughese Previous Next

A talk with a professional artist about their career. Back Richard Lee Theatre Conversation in a Covid World Neil Silcox Joe Szekeres Richard Lee is an Award-winning actor, fight director, sound designer and theatre educator, and theatre producer. Always grateful for challenges, Richard embraced his love of all things based in movement, sound and being bossy, which have led him on many interesting journeys. Richard graduated with a BFA from York University’s Theatre Program and has worked extensively in both film and theatre. In his career he’s had the joy of playing many interesting roles. Some highlights include Bruce Lee (Little Dragon – K’now/Theatre Passe Muraille); Rick Wong (Banana Boys – fu-GEN Theatre Company); Sun WuKong (The Forbidden Phoenix – Lorraine Kimsa Theatre for Young People/Citadel Theatre); Falkor (The Neverending Story – Roseneath Theatre) all for which he has received Dora nominations. He has received three Dora Mavor Moore Awards. One for his work in Sound Design in paper series (Cahoots Theatre Company), and the other for performance in Cinderella: A Radical Retelling and Sultans of the Street (Young People’s Theatre). In 2013 he received the infamous Harold Award (In the House of Sarah Stanley), a theatre award bestowed upon one individual to another in to recognize the outstanding and often under-recognized dedication on or off the stage. Beyond the performing arts Richard has spent many years living and training as a Martial Artist. Over this time, he has trained in many varying styles. Richard is a Professor at Humber College and teaches a course in Collective Creation using the Belshaw Method. This method teaches performing and production students to better understand the collective creation process and the skills it requires. He is also a founding member and former General Manager of fu-GEN Asian-Canadian Theatre Company. A company dedicated to the development of professional Asian Canadian theatre artists. He also serves on the boards of The Toronto Arts Council and princess productions, a small independent dance company. Richard is quite passionate about issues of Cultural Diversity as it relates to the Canadian Performing Arts Industry and seeks to actively address and raise awareness of this issue. It was a pleasure to chat with him via Zoom today as he is personable, witty, and passionate. Thank you so much for adding your voice to the conversation, Richard: Richard, next week we’re coming up on the one-year anniversary of shuttered doors to live theatres. How have you, Nina and Eponine been faring during this time? I chatted with Nina in summer of 2020 and am curious to hear how things have gone for all three of you: Thanks for asking. They’re doing very well since you last chatted with Nina. I’m sure Nina told you when you spoke with her that it was a big adjustment in a crazy household experience in terms of everyone all being under the same roof, and things all happening. I’m speaking to you from Eponine’s room right now. The living room becomes my studio, and our bedroom becomes Nina’s office. It’s pretty crazy, but good. It’s been a very interesting year with a lot of different things happening. For the most part, I think for me personally, it’s been a really big time of reflection. But Nina’s busy. She’s still running the Factory Theatre. She’s still making art. I’ve primarily been the House-band as she likes to call it to hold down the fort ensuring meals are made for everybody because everybody is so differently busy. I’m teaching at Humber College. I taught in the fall and teaching and an Introduction to Theatre Course. I was fortunate because this particular class is very easy to convey online in learning about the etiquette of theatre. The class I teach specifically I like to call it “All the things they never teach you in theatre school that you had to learn for yourself.” Funny enough you say it’s coming up to a year. One year ago, I was teaching a separate course for the Production students. It’s a devised piece where they were to construct a piece of theatre and we were right in the middle of doing it when Covid hit, and all the restrictions hit. As tragic as that was, I embraced that challenge so wholeheartedly with all the students that it was a really good precursor how to work online and diving into a platform like Zoom to use breakout rooms, and how do we talk and doing research on ways to engage students to help them learn and make it fun and interesting. Along with your teaching, how have you been spending your time since the theatre industry has been locked up tight as a drum? The short and long of it: I’ve been doing some different workshops in between with various companies and different projects that have been happening. I was assisting Humber College and running their program for a while as the Academic Program Manager. They had a bit of some transition happening and that was worthwhile and interesting in the long-term trajectory of wanting to run a program. Potentially it’s something I could actually do. The first part of the pandemic was hard. As a person who works primarily in theatre, having no live theatre to do was beyond devastating I will honestly say. The first 3 or 4 months in I kept thinking, “Oh my God! Did I make the right life choice?” Not only is it a difficult profession to succeed in because of the excellence required and the hard work and rigour, I’m stuck in this pandemic where the very nature of what I do really limits what I’m able to actually accomplish. On top of that, George Floyd’s death kicked in a very different conversation that, of course, we in the BIPOC community have been having but having everyone else be more aware and have it come to the forefront. I will confess that it really highlighted for me, as a theatre artist that really wants to see diversity and inclusion on our stages and in our theatres, how far we still need to go in some ways. 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 year long absence from the theatre as something else? Oh, Joe, that’s a great question. I’ll answer it in three phases: a) Early Covid, I would call it ‘The Curse of Doubt’. Up until the end of summertime when it was clear that this would be much longer than a few months, I really got down on myself and questioned the very nature of what I was doing, not only as a profession but as a person engaging in the world. Fast forward to the end of December and having changed tack, seeing the broader picture and running a program and making challenges and changes, it was a realization that b) ‘Covid has been a blessing.” It has allowed me to really deeply think about myself and what I engage in, the switch in opportunity made me really appreciate being an artist and how wholly, how fortunate I am in my life to follow my instincts and my impulses and have the option to make a choice in what I want to do. Covid gave me the time and space to pick apart the various aspects of my life. I know this sounds like a philosophical discussion (and Richard and I share a good laugh). That was a blessing I didn’t expect. I’ve taken care of the family. That’s part of my job and who I am right now as Nina is building a community through Factory and her work at PACT. She’s trying to bridge people in the art of theatre making, not only administratively but through her work. It’s incredible the amount of work she does. I’ve learned to really appreciate the work I do not only as an artist but also as the House-band and provide the support to Nina. I have the time to do that. My relationship with my daughter is so meaningful to me and I’m so grateful Covid has allowed me the time to do this because I have the flexibility and the space to do all this. And I have the ability – I can cook, drive etc. c) The third phase is ‘Rebirth’. A year later I’m armed with new knowledge about where I sit in my own place and ‘nerv-xcited’ to try new things and challenge myself to be satisfied. I want to enjoy all the accomplishments I’ve made both large and small. Now what’s the next challenge that excites me. I’ve always wanted to do a video blog about things that I really love. What’s stopping me? I feel like I’m in an age of Renaissance myself. I’ve interviewed a few artists who have said they can’t see theatre as we currently know it not running at full tilt until 2022 with the occasional pockets of it where safety protocols are in place. What are you comments about this? That’s another good question. I’ll answer it very simply. Theatre as we know it/have known it in the live form that we have will not return in probably until 2022. That is a very true thing to say. Even if it comes back earlier, my question: will people (audiences and actors) feel comfortable actually being able to attend and perform? The other side of that coin – yes, I think theatre has pushed through the next stage of its evolution. This is not based on any historical fact whatsoever. As I look at the different art forms that have evolved over the last 100 years: cinema, television, radio, even internet art forms, it has all evolved out of some sense of storytelling, some sense of creative drive and the need to communicate. The next step: a virtual theatre? A virtual internet theatre? Whatever the name, it’s exciting to me. I keep telling my students that I’m excited to see what you will make as theatre. I can teach you about theatre, I have made theatre, but I want to see what you’re going to do whether it’s a virtual form of theatre if that’s what you want to call it, some other word signaling a digital look at theatre. I want to see Zoom theatre; I want to see Twitter theatre. I want to see you take all these different ways we have to communicate and creative whatever form of theatre and twist it on its head and show me your stories and your entertainment in the way you want to tell them. I’ve always struggled with what it means to perform live versus performing in movies. From my perspective, the preparation is still the same as a performer. The difference for me is recognizing the medium that you’re in. When I perform on stage, my conduit is to the audience and the people there and understanding the space and shape I’m in. When I’m performing for film, the conduit is literally this tube that is in front of me and all my performance needs to go there but I can still continue to be engaging elsewhere, but the frame is so different. The same with virtual theatre exists – I’ve had to be selective of Zoom readings and Zoom theatre just because we are reading plays that have not been created for this medium. We’re not using the medium as part of the creation of that tool. When I see a piece of theatre that has been created for that media – ‘Acts of Faith’ or ‘House’ or ‘Ministry of Mundane Mysteries’ (via telephone), all of that has been created specifically with care using the tools of communication they have. It’s very purposeful, very recognizing made for those mediums, those tools, and that’s what makes them so exciting because the story telling is so much clearer there. It’s not pretending to be something substituting for something else. What makes it great is the fact we are on the cusp of engaging something really new and exciting and the world is finally ready to hear it. That’s always exciting. Am I looking forward to getting back to performing in front of people? Hell, yes!!! But I’m also excited to see new things pop up. I had a discussion recently with an Equity actor who said that theatre should not only entertain but, more importantly, it must transform both the actor and the artist. How has Covid transformed you in your understanding of theatre and where it is headed in a post Covid world? I feel like Covid has transformed my tolerance for people who don’t even bother trying to be inclusive. It has less to do with my art than what my personal outlook is. It has made me appreciate my art much more deeply than before and has made me think about the totality of me as a theatre artist. Covid has really me made me impatient for when I see people who I think are unwilling to make the effort to try to open the way they view the world. By that it can be gender issues, being inclusive of Indigenous, Black, Asian folk. It could be inclusive about the way we make theatre or the types of theatre or how we define it. I get really impatient about these issues and go, “Why?” Opera was a new form over 400 years ago that was exciting for people. Television was a new form for people. Every golden age in the way we invent and tell new stories is an exciting innovation. Why would be so indifferent to embrace something that is different? That has the potential to be exciting in a different way. That doesn’t make sense to me. The late Zoe Caldwell spoke how actors should feel danger in the work. It’s a solid and swell thing to have if the actor/artist and the audience feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid and how will this influence your work when you return to the theatre? I agree with the definition in principle. I really do. To me, the sense of danger Zoe Caldwell implies is the sense of risk, right? The sense of being able to put yourself out there or the sense of challenging a notion, or a thought. I absolutely agree with that on principle. As a fight director, I’m like No! If it’s dangerous, the audience is going to be pulled out of it. I think therein lies the art we make. That’s the place I think where we feel most alive and most alert and most present is when there is a sense of danger when we are threatened or challenged in a really bold way. We’re living in a pandemic and time where we had a president of the US who was very ignorant of the simplicity of his actions of his own words. The ignorance, to me, the historical significance of that kind of thinking and rhetoric and leadership was dangerous. As a child, I was very oblivious to the world around me. Although I know contentious things did happen (The Cold War, all kinds of internal strife), I don’t think I’ve ever seen so much unrest as I do now between Trumpism and China’s increased boldness at lying to the world. The whole thing all feels very dangerous. That’s the big macro. On a micro level, yes, it’s been challenging to try and understand how we decide theatre and art in the most considerate way with all the things we want to accomplish – by that I mean we’ve made in a particular way up to now. 100% it’s been tried and true as it gets the job done; it’s been a way that we work. But the journey I’ve been on and what I’ve come to appreciate and have been verified on during Covid is that it doesn’t have to be that way. We don’t have to be in a place where we can’t find ways to see how we can communicate with each other, or make art, or rehearsal practice. Who made these rules on how and why we rehearse theatre? They work for someone but don’t work for all. Why is it so hard to consider a change? Let’s just try it. Working a five-hour day might be terrible, but it might be great as it’s equally productive for me as an eight-hour day. A five-hour day allows me a better chance to absorb things I’ve done that day and to live life. The danger I’ve often felt on a micro level – we’re living in a dangerous time where we’re rubbing up against so many ideals on how we engage each other, open to issues of transgenderism, BIPOC issues, to new ways to rehearse, engage, make art and be mindful of it. It’s not about being politically correct, it’s about story telling in the most considerate way because we’re being asked to make that change. I think we can do it. I think we can make that change. New and exciting material that is capable of being broad as it can be and welcoming as it can be, and still be interesting as can be. Great pieces of work do that. They just do and they challenge our sense of reality. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. You’ve made reference during our conversation to how this time of Covid has made you feel sensitive to our Covid world and post pandemic society. Is there anything else you’d like to add? Covid has given us the time and space to realize some of these important issues we’ve been discussing here. Just thinking back to the death of George Floyd – would this momentous time have got the traction it would have were it not for the facet we were sitting around in the midst of a pandemic? Maybe not? I like to talk about things in this idea of a swinging pendulum from complete racism to now where we swing to a pendulum of amazing awareness. At some point, we will swing back to a middle ground where everyone will be aware without having to push into this idea of being ‘too much ignorant’ anymore. Ultimately, it’s opened us all up to possibilities, even people who are resistant to these ideas cannot deny that it’s there now. They just can’t. The sad part to me is for those people who are unable or not ready to embrace inclusion, that they are having to live in a place of fear, as I don’t think that helps. My hope is that people who are resistant or ignorant just take a moment to consider the possibility for themselves to be inclusive. What harm would it do you to say ‘they/them’ in conversation as opposed to ‘he/she’? Simple actions like that, that’s my wish for the world, just to turn it a bit on its head. I just want people to take small steps. It makes us uncomfortable; I get it. It makes it difficult for us to re-learn the way we work and the language we use, and the way we like to deal with people in life but it’s so worth it. I’m not a perfect human being as I’m not going to be as inclusive as I want to be. We’ve come full circle in concluding with Hal Prince’s comment about curiosity and the fact theatre should trigger curiosity in the artist and the audience. Again, you’ve talked about your curiosity earlier but is there anything else you’d like to add? I think I’ve spoken earlier about my curiosity and I don’t want to re-hash too much. One of the biggest blessings has been the re-ignition of ‘what is it that I am actually curious about’? Why am I doing this if not for the insatiable drive to have something itched, to discover something, or to just get it out. I tell this to my students all the time: “We are too poor, too over worked, too tired in this industry for you to be here for anything less than a love of theatre, and a love of making theatre.” Covid has really reminded me of that, and in a certain way it’s reminded me that it’s okay to take my theatre pocket and put it aside and go and play in the podcast world, go and play in the YouTube world and do something different. Because I’m a theatre major, I’m not going to restrict myself to a box. You never have been, even in theatre, so why would you go and do that now? Go and do things you’re interested in. You can connect with Richard at INSTA: @aranthor/ Twitter: @Aranthor/ or at Facebook: /Aranthor Previous Next

A talk with a professional artist about their career. Back Antoni Cimolino Self Isolated Artist (courtesy of Stratford Festival, Ontario) Joe Szekeres Whenever I hear Stratford Festival’s Artistic Director Antoni Cimolino’s re-assuring voice on television, usually as spring approaches, my summer will not always feel complete until I have visited to walk around the town and to see some extraordinary shows. I always look forward to receiving the Festival’s brochure in the mail (yes, I still receive it this way, and I like it) as it details upcoming productions with pictures and items that garner my total interest about what is to hit the stages and its environs. When I hear Antoni’s clear voice in one of Stratford’s live theatres before the performance begins and the trumpets sound at the Festival Theatre, I’m at home and feel at home. During this time of the worldwide pandemic and lockdown, I often wonder if the professional performing arts community will ever truly be able to recover and move forward. A solid and steady, firm grasp of the here and now is very much needed to make those steps forward into an unknown and, possibly, uncertain future. This is Antoni Cimolino. I had the good fortune to have chatted recently on the phone with Antoni about the confusion of this time. Just listening to his eloquent conversation of perfect diction combined with an extraordinarily calm demeanour and a warm and welcoming tone in his voice put me at ease very quickly with this gentleman. We even shared a few moments of much needed laughter during our telephone conversation. No spoiler alerts but, at the conclusion of this profile, you’ll see why Antoni and I shared a good laugh on the telephone and why he chose this communication form rather than Skype or Zoom: 1. How have you and your family been keeping during this two-month isolation? Brigit and I are doing okay, thanks for asking. Our daughter is teaching English as a Second Language in Taiwan, and she is safe. Our son is studying at university and he is doing well. Currently, it’s just Brigit and I at home. 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? Along with having to stop the season and postpone all performances at this time, our household has also been dramatically impacted. It is a worrisome time right now, not only for the Festival, but also for many within Stratford who depend on the Festival. All of us are working on trying to understand how we will get from here to there. Given all this turmoil, I have been keeping myself busy by getting the filmed Festival performances online. As I look them over and think about them again, great comfort comes to me. Watching these carefully edited filmed productions has been like seeing old friends again. And speaking of old friends, I’m also preparing for a number of interviews during this time. I’ll be meeting with Shakespeare scholar Jim Shapiro and also have a meeting with Stephen Greenblatt, Shakespearean historian and author. These filmed presentations have been extremely helpful in keeping interest in the Festival going. At one point, we’ve tallied the data and had over 300K people tuning in to watch these works of art preserved on film, so we are most thankful for this reality. Along with the walks Brigit and I take on country roads around our home, we’re also exercising and eating as healthy as much as we can. 3. Antoni, I can’t even begin to imagine the varied emotions and feelings you’ve been experiencing with regard to the postponement of the 2020 season. 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 town itself? It has been devastating to walk around the town and to see the heartbreak the destruction that COVID has left in its path. There were over 1000 individuals connected directly to the Festival who are now out of work and over 3000 in the town and surrounding area who relied on the Festival’s patronship to restaurants, shops, hotels, and bed and breakfast. It’s hard to say what the permanent impact will be at this time on the performing arts scene. The plays from the 2020 slate will be performed, I just don’t know when that will happen until we get the all clear. 4. Do you have any words of wisdom to build hope and faith in those performing artists and employees at the Festival 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? For all artists, it’s important for them to realize that on some level they have been given a gift. That gift is humility. If anything, living through this new reality has taught us that humility is needed. The seasoned performer may have taken some things for granted within their career, but this reality of COVID has taught all of us about dealing with the negative in our lives and not to take things for granted. Strangely enough, there is a beauty and interconnectedness about this time since each of us is dealing with Covid and the fallout in our own way. I hope all the artists, and this also includes the new theatre school graduates, that on some level they have been given this gift of humility and time to develop a greater sensitivity to all that surrounds us. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene and the Festival? Absolutely! Covid will spur a powerful resourcefulness on the Festival and the performing arts scene. The Festival has at least started this resourcefulness with its selection of filmed productions that can be shared worldwide. This common ground of sharing these timeless stories and tales is a start with the community in building interrelationships with our patrons. On this front, at least something is better than nothing. For now, Covid brings with it the real fact that the Festival may have to look at different ways to disseminate its work through technology. The artists involved in every respect from editing to performance are to be commended for trying to create that work of art that we hope will live on in the history of the Festival. It won’t be forever, but it’s just for now until we have been given the all clear to return to the theatre. 6. I’ve already watched ‘King Lear’, ‘Macbeth’ and ‘Coriolanus’ and planning to see the marvelous Martha Henry in ‘The Tempest’. Nevertheless, 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? Online streaming and filming of our productions do, and can, allow for a greater intimacy with our audiences. There’s an artistic beauty produced in each of these films, and I firmly believe the Festival’s capturing of these magnificent stories will conquer Time. The camera can capture from a distance and allow the audience to see the performer’s expression and possibly feel the emotions. Sometimes your seat in the theatre might now allow you to see the expression. The camera also tells the audience where to look and upon what to focus. Online streaming and You Tube are inventive ways of using technology, but we have to remember that streaming and theatre are two different mediums. Online streaming and You Tube presentations are not meant to be a replacement for live theatre. Yes, some individuals will haphazardly put up a staged reading or something that might garner a quick look; however, we are hardwired for others to act out. It’s human nature. When we were children or when we have children, we notice that it’s human to act out. We lose that beauty of ‘acting out’ as we get older. There is nothing like a live connection each of us feels as we sit in the theatre waiting for the performance to begin. There’s a powerful alchemy and magic at work which creates a wholeness for every patron present. Not only do these two elements each bring their own unique way of seeing the story come alive, but also we get to experience that same powerful magic work itself in others around us who are also seeing the story come alive for them. That’s why theatre thrives and that’s exciting. That’s why we will remember performers like Martha Henry and Colm Feore (just two names that came to my mind). That’s why theatre thrives. In our Festival theatre, for example, you’ll notice that it is very different from the typical proscenium arch theatre. In the latter format, the audience sits forward and never gets to see how other members are reacting to the Story. At the Festival, the seating surrounds the stage so the audience sits on all sides and you can’t help but see how others across the hall will respond when necessary. That’s what makes theatre so remarkable. That’s what makes people want to return to see theatre. We will return to the theatre when it is safe to do so. 7. What is about the Festival and performance that you still adore in your role as Artistic Director? I am one incredibly lucky person that I have been able to be of service to Stratford, to the artists and to the crew who work behind the scene. With this position and role as Artistic Director comes a great responsibility. I have also experienced a great joy at the Festival and in watching the many artists, especially those who need that chance and that opportunity whether it is to have a reading of a script, to workshop a possible script and to see potential or to give that new actor and that new talent that opportunity that all of us have had at one time. Off the top of my head, I think of Peter Pasyk who was to direct ‘Hamlet’ and Amaka Umeh who was to play the central tragic figure. Just these two individuals alone who are new to the Stratford company will make an indelible mark. There are many others in this year’s company as well upon whom we must keep watch. I’m also incredibly proud of the work at the Birmingham Conservatory for Classical Theatre and The Michael Langham Workshop for Classical Direction. 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? Delicious. I like to use this word a lot. 2. What is your least favourite word? Zoom (Both Antoni and I have a good laugh over this) 3. What turns you on? Books 4. What turns you off? Zoom (And again, Antoni and I have a good laugh. Now I know why he and I did not have our interview via Zoom). 5. What sound or noise do you love? Waves lapping against the shore 6. What sound or noise bothers you? Lawn mowers 7. What is your favourite curse word? “A plague on you” or “Rot me” or “Split me windpipe” 8. Other than your current profession now, what other profession would you have liked to attempt? Gardener – I love to be in and around the garden for relaxation. 9. What profession could you not see yourself doing? Lawyer 10 If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “The performance begins in five minutes." Previous Next

A talk with a professional artist about their career. Back Michaela Jeffery, Playwright "I think of theatre as compassionate spaces of communal action." National Theatre School of Canada Joe Szekeres Oshawa’s Durham Shoestring Performers (DSP) will perform Michaela Jeffery’s ‘WROL’ (without rule of law) on March 24, 25, 29, 30, 31 and April 1 at the Arts Resource Centre behind City Hall. Recently I had the opportunity to share a Zoom chat with the Calgary-based playwright where she completed a more general drama undergraduate BFA degree. She is a graduate of the National Theatre School of Canada (NTS). Her father is a retired Drama teacher so Michaela proudly states she has been thriving in drama for a lot of years beyond her formal training. When she finished her undergraduate program, she interned for a couple of years with New Play Development-based Calgary company called Alberta Theatre Projects before applying to the National specifically to do playwriting. The National Theatre School has a three-year intensive playwriting program of two students working on plays all day. It was a wonderful experience for Michaela, and she feels incredibly fortunate to have been a part of this opportunity. What exactly does playwright training look like? Jeffery describes the ‘lovely, decadent’ process as the most organic extension of human storytelling. Her studies at NTS involved working one-on-one with playwright artists, being in constant conversation with them, and getting to have a backseat view of their working on developing work. It felt like a lateral professional-to-professional conversation which felt wild as a young student because nobody had treated her like a professional up to that point. However, she was brought up very quickly to that professional level standard of NTS and learned about standing up for herself in her growth as a playwright. How has Michaela been feeling about this gradual return to the live theatre as a playwright even though we are still in Covid’s embrace? With Alberta known for its own complex ecology, Jeffery pointed out the province has been referred to as ‘America North’ as it was the first to “pitch a fit” about mask-wearing. The current provincial government (until May) is really pandering to some of the very specific pockets of the Alberta population that are not interested in doing things for the greater good. Jeffery works for Arts Commons, a performing arts centre and art gallery in Calgary, which houses four theatres in the immediate complex of the building. Throughout the beginning of the pandemic, she was on teams setting rules about what to do with the bare base mandate level of the province. Do these teams go above and beyond what should be expected or just go with the bare base provincial recommendations? Jeffery said many of Alberta’s vulnerable population come to the Commons to see touring artists. It’s peace of mind and why wouldn’t a business try to do what it can to protect people: “I think of theatre as compassionate spaces of communal action. The space we are in while we make theatre is one where we take care of each other. What is appealing to me about writing for the theatre? There is something very important about a live experience. I’m not dismissive of some of the incredible online work that has been done. We’re all coming together to think about how we might make a better world or imagine a solution. So, let’s take care of each other while we do this.” Our conversation then turned to WROL since it will be performed in Durham Region in March. WROL was a recent finalist for the international Jane Chambers Excellence in Feminist Playwrighting Award (2021) and Alberta Playwrights Network Alberta Playwrighting Committee. The play has already been produced forty times most of that in the United States. Michaela bills the play as a dark comedy. There are some amusing moments while there are some dramatic elements and issues these girls will have to end up facing for the rest of their lives. The plot involves a handful of Girl Guides who have essentially gone rogue. It’s a story of young women finding their voice and fighting for something they believe in while trying to make the world better. Whether the audience agrees with their tactics to accomplish this is the reason to come see DSP’s production. Jeffery describes the literal layer of WROL’s plot: “Technically the girls are trying to get to the bottom of something. They live in a rural area with a history of a kind of cult that existed and then vanished. The girls are playing Nancy Drew in trying to solve this survivalist cult and in the process find a hideout of a single guy who could come back at any moment. Is this guy part of this cult that vanished?” Combine this understanding now with how these young women feel about themselves to be in a world that isn’t taking their concerns or their fears seriously. Things can’t stay as they are at this current moment. WROL becomes a look at how decisions are made. Are they made equitably and justly? Although it is never expressly spelled out, there is an allusion to things that can’t stay the way they are in this current moment. Is it the apocalypse? The world is changing and as Jeffery says: “Shit could go sideways at any moment”. Whatever these girls are struggling with, it’s all rooted in love, and a desire to care for each other and the planet. There is also an element of fear and anger the girls have to deal with too. Michela knows there have been some gentle and combative versions of WROL produced, and she loves how her script has been brought to life in these two ways. The way it’s written in the text has led to some directors going the tender direction with WROL while others have gone the hard, revolution route. Michaela stated there is an argument for staging WROL either way. It will be quite interesting to see which route the Durham Shoestring Performers take. The genesis for WROL came from a few places for Jeffery. She was asked to take part in an Alberta Theatre Projects Playwrights Unit during her first year out of NTS. She chose the age of 12-13-year-old girls for her play instead of the ages of 16-18 because there is something really striking about that point in ourselves and the self-discovery where we’re not cynical at 12-14 yet as we are when we’re at 16-18. Michaela gave further thought to danger and young children and an understanding of urban myths. She gave further thought to what the mythologies of 12-year-old girls are. WROL became the genesis of what were the earliest moments Jeffery felt angry as a young female person. What messages does Michaela hope audiences in Durham will take away from WROL as they leave the theatre? She said WROL has a very complex ending in the sense it’s really open-ended. Past audience members have been asked what the last image was or what was the last thing they remember. Each audience member will tell a different story about the action that occurs at the end of the play. Is it an action of defeat or is it an action of hope? Her final words about WROL: “I really hope that audience members are excited and engaged in thinking about fighting for things they believe in their own lives and relationships and the world they live in. Will audience members think about how they protect their own inner child? What do courage, bravery and risk all look like? And what would I want to do for the world I live in?” To learn more about Calgary-based playwright Michaela Jeffery, please visit her website: www.michaelajeffery.com . Previous Next

A talk with a professional artist about their career. Back Rebecca Caine Self Isolated Artist Jennie Scott Joe Szekeres As an avid theatre-goer and attendee, I can recall how the excitement of the Toronto professional theatre scene in the late 1980s and early 1990s matched and marveled that in New York City. At this time, there were the mega-musicals: ‘Les Miserables’, ‘The Phantom of the Opera’, ‘Miss Saigon’, and ‘Rent’ just to name a few. The first two productions listed have one person in common: Rebecca Caine. It was the Canadian sit-down company of ‘Phantom’ at The Pantages Theatre (now the Ed Mirvish Theatre) where I saw and heard the lovely Toronto born Rebecca Caine perform the iconic role of Christine Daae, which she had also performed in London’s West End. I remember hearing and/or seeing how fans of the Toronto production flocked to the stage door after performances to catch a glimpse or to chat briefly with this beautiful lady. And yes, I was one of them. Again, during the first few weeks of the ‘Phantom’ Canadian run, I also learned that Rebecca had originated the role of Cosette in the London/West End production of another theatrical titan: ‘Les Miserables’. Rebecca’s dulcet sounds were not only and simply relegated to the musical theatre community. While in Toronto, she also joined the Canadian Opera Company and made her debut there in the title role of ‘Lulu’. Rebecca also received a Dora Mavor Moore award for her performance in ‘The Little Vixen’ with the Canadian Opera Company. I encourage you to visit her website and to see Rebecca’s extensive work across Canada, the US, England, and overseas with incredibly diverse roles in music and storytelling. It was also nice to read in her biography on her website that Rebecca made her straight acting debut. And when she returns to Toronto for a concert, I would most certainly like to attend to hear her sing once more in the theatre when it’s safe for all of us to be there. Rebecca and I conducted our interview via email: 1. It has been the almost three-month mark since we’ve all been in isolation. How have you been faring? How has your immediate family been doing during this time? London calling! I’ve been incredibly up and down. Initially, it almost felt freeing. No self-tapes! Air punch! I heard Helena Bonham Carter say she didn’t have to feel stressed about being cast because no one else was. Well, quite. Then the fear crept in. Thanks to the ineptitude of the mouldering pile of chickpeas that is Boris Johnson, we have an incredibly high infection rate in the U.K. Friends got sick, some nearly dying. We hunkered down. We’ve had a lot of illness in my family in the last year. My mother has been hospitalised twice and a sibling was released from six months of cancer treatment in hospital into the whirlwind of a global pandemic. A brother in law tested positive for antibodies, my sister did not. I started to have some strange symptoms, rashes, an eye infection that could be seen from space, so my husband and I were tested. He came out positive much to our shock as we’d been so careful, and he was asymptomatic. My GP told me to assume that despite two negative tests I had had it. I’ve had days of real fatigue, headaches, and depression. We quarantined, him for one and me for two, which made me feel even more barking mad. Today I’m feeling better so let’s hope we’ve come out of it really lightly and stand a chance of not getting it again although of course, we will still be super safe in our behaviour. Meanwhile, I’m convinced the steady diet of Pringles and chocolate will keep us healthy. 2. As a performer, what has been the most difficult and challenging for you professionally and personally? I’ve really struggled a lot with loss of confidence in the last few years. I’m really hard to cast, being a full-on legitimate soprano of a certain age in a world of belters. There are no roles for me in traditional opera now as I am a light lyric soprano and they are the first to walk the plank, and the projects that I do want to do are few and far between. It’s harder to keep one’s confidence in the long gaps between gigs. I have COVID nightmares. Standard actor dreams. ‘Phantom’ has been my go-to stress dream for thirty-two years. I keep dreaming I’m back in the London production where I had a horrid time. The dream has changed over the years. Initially, I was hiding on the top floor of the theatre hearing the show over the show relay but, over time, the dream has progressed to finally being on the stage. Inexplicably a trapeze act has been added to the opening number, ‘Hannibal’ and I am pantless. I constantly dream I’m onstage in something I’ve never rehearsed and don’t know, and all this plays on my mind. I wonder, when we ever come back if I’ll be able to still do it which, of course, I will because it’s in my bones. It’s hard not to have the fear at four am. The other thing that was really tough was that in the first few months of the pandemic I could not bring myself to sing. When I tried, I cried. For many weeks here every Thursday night, we clapped the NHS. My street asked me to lead them in a group sing and it felt exposing and like showing off. I wanted to be quiet and private. All over my socials, Turns, as we refer to ourselves here, were “giving their gift” and I was incapable of singing. I needed to because I go crazy if I don’t feel that vibration in my body and I needed to stay in good vocal shape. Eventually, I turned to the Bel Canto Vaccai method of Practical Singing (God knows what the impractical method is) which is over 200 hundred years old. I found that singing through the exercises daily kept me in good shape technically and mentally. 3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? Straight off, I had to cancel some concerts in Canada, which made me sad as I hadn’t been back for three years and I miss everyone. Last year I did an extraordinary new piece, ‘Abomination’, an opera about a Northern Irish politician Iris Robinson and the DUP party’s appalling homophobia by the brilliant composer, Conor Mitchell. We had had plans to take it all over the place and now that’s on ice which is distressing. It’s an incredible age-appropriate role that was written for my voice and an important piece of political theatre. I was so excited for the wider world to see it. Bebe Neuwirth, whom I went to high school with, and I were plotting a cool thing we’d hoped to workshop this summer as well. I could tell you about it, but then I’d have to kill you. It’s hard to say what will become of any of these projects. Certainly here, nothing is happening until 2021… 4. What have you been doing to keep yourself busy during this time? Well… lots of gardening, weeping, needlepoint, weeping, eating, weeping, and silent screaming. I don’t seem to have the concentration to read. I have been watching a lot of ballet, which I adore. I can lose myself in it and the older I get the more I am lost in wonder at what they can do. My heart breaks for all the dancers trying to keep in shape in their living rooms; it’s such a short career, full of sacrifice. 5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ - 2 years? My heart bleeds for them. I wish I had a magic wand to make it go away. I message the younger colleagues to tell them I’m thinking of them and support them. The next generation had things stacked against them before this bloody virus arrived, but I am utterly convinced that they will find a way of making theatre that will amaze us all. I’m so incredibly inspired and excited by their politicization, creativity, and passion. They will find ways to express themselves that we never dreamt of. Don’t succumb to the divisiveness that’s out there. That’s what they want you to do. Listen and avoid dogma. Don’t cancel, debate. Be kind and strong and you will rise. The theatre has survived plagues before. It will survive this. 6. Do you see anything positive stemming from COVID 19? I hope that there is a realisation that we can no longer see the planet as something to be plundered, but as something we must respect or it will strike back and that people must see each other as equals. I’ve been profoundly impacted by the stories raised by the Black Lives Matter, Climate change and also the Me-Too movement. I think somehow the pandemic has brought all these matters to ahead. The next generation get it and soon, they’ll be in charge. 7. Do you think COVID 19 will have some lasting impact on the Canadian/North American performing arts scene? I can’t speak for the North American/Canadian scene as although I work over there, I am based and mainly work in the U.K. but surely the problems are the same? Unless there’s a vaccine, some sort of herd immunity develops or the virus mutates into a less fatal form or indeed vanishes, we are going to be dealing with this for some time. 8. Some artists have turned to YouTube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown? Even before the pandemic, one of my favourite things to do was to take my mother to see relays of operas and ballets at the cinema. Although many of them were playing in London it was an easier thing for my mother to handle at 87. What I did miss was feeling the music in my body. No sound system can replace being in the hall. However, in the present circumstances, I think it’s a brilliant way of getting things out there. The Belfast Ensemble streamed ‘Abomination’ to over 5000 people in 32 countries. For a contemporary opera that’s an incredible achievement. 9. Despite all this fraught tension and confusion, what is it about performing that COVID will never destroy for you? That feeling of the flow, of being in the zone, when each thought just comes unbidden and I am fully in the moment. Pretty wanky, eh? True, though. As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are the ten questions he used to ask his guests: Oh lordie…ugh… right. 1. What is your favourite word? Cat 2. What is your least favourite word? Ginormous. 3. What turns you on? Serious art 4. What turns you off? Donald J. Trump 5. What sound or noise do you love? An orchestra tuning up. 6. What sound or noise bothers you? Straight tone screlting. Vibrato is a fingerprint that gives individuality unless you want to sound like the factory klaxon that opens ‘Sweeney Todd’. 7. What is your favourite curse word? Twazzock What is your least favourite curse word? Unprintable. 8. Other than your own, what other career profession could you see yourself doing? Well, Pope obviously, but costume designer or medieval manuscript scholar would be lovely. 9. What career choice could you not see yourself doing? Wife of Trump. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “It’s ok Darling, we don’t need an up tempo.” Seriously, it’s “All your pets are waiting for you.” To learn more about Rebecca, visit her website: www.rebeccacaine.com Twitter: @RebeccaCaine Instagram: RebeccaCaine Facebook: Rebecca Caine Previous Next

A talk with a professional artist about their career. Back Keith Barker, Artistic Director of Native Earth Performing Arts Looking Ahead getting captured Joe Szekeres The engagement comes in recognizing that it’s not about the queerness at all – it’s about the artistry in the work. When I went through a press release and saw that Native Earth Performing Arts would be one of the ten members of a newly established coalition launching our country’s first ever National Queer and Trans Playwrighting Unit, I was pleased to be invited and interview Keith Barker, Native Earth’s Artistic Director. I wanted to profile Barker earlier in the Professional Artist Pandemic Profile Series I’ve compiled for the last two years so I’m grateful for this opportunity. More about this coalition shortly and Native Earth’s involvement. Throughout this series I do like to have a quick check in with the artist to see how he has fared during the pandemic. Barker is thankful no one in his immediate family had Covid and that everyone was safe. His family felt no differently in addressing how the disease affected their lives and mental health, concerns we’ve all felt at one point. Does Barker believe Covid has altered the trajectory of the Canadian performing arts scene? Absolutely he does as it has led to modifications and re-examinations of so many items and issues within the professional theatre community, especially First Nations. For one, contingency plans have had to be put in place moving forward if the Indigenous performing arts community wants to ensure its voices continue to be heard even if its artists become ill with Covid. We talked about the use of understudies in Indigenous productions. Additionally, Barker also spoke of the fact that Native Earth will continue to offer a hybrid model in offering productions to be seen live and virtually. He recognizes that people are at limits in watching online theatre as its resources are limited compared to those of film and television who have fared stronger during these last two years. However, digital presentations have allowed Native Earth to share their stories in rural and remote communities so future budgeting will have to ensure this opportunity can continue along with live performances. The focus of Barker’s profile was this newly established consortium for the National Queer and Trans Playwrighting Unit and his professional involvement. The following theatre groups are liaised: Zee Zee Theatre (Vancouver), the frank Theatre (Vancouver), Gwaandak Theatre (Whitehorse), Theatre Outré (Lethbridge), Persephone Theatre (Saskatoon), Theatre Projects Manitoba (Winnipeg), Buddies in Bad Times Theatre (Toronto), Native Earth Performing Arts (Toronto), Imago Theatre (Montréal), and Neptune Theatre (Halifax). For those who are interested in applying: “2SLGBTQ+ emerging and mid-career theatre makers from across Canada are invited to submit applications by July 5, 2022. The selection process will see five artists announced in September 2022 to participate in a 10-month process, during which they will receive living wage compensation and one-on-one mentorship as they write a new work. The developed plays will be performed live and streamed online in September of 2023.” This massively important undertaking holds gigantic implications for the Queer and Trans voice in the country. First Nations artists have also experienced similar implications in solidifying their voices to be heard as well and, as a First Nations artist himself, Barker foresees similar positive and challenging elements moving forward in the Queer and Trans community: “It’s an opportunity to humanize all our experiences as Canadian citizens. There has been a noticeable lack both with Indigenous work and with the Queer and Trans artist voices across Canada that needed to be heard. Thanks to the work of Canada Council and federal grant money, artistic groups were asked how they are going to reflect their individual communities with a specific focus on the Indigenous and the Queer/Trans voice.” One challenging element regarding this consortium for Keith: “Post Covid, theatres have struggled financially. Additionally, audiences have also struggled as they have been locked up for a long time and may have become entrenched and only want to see comedies or something that make them laugh. I get that, we all want to laugh since we’ve all experienced one of the most awful times in our lives… But I’m confident in that as artists and theatre companies slate both fun and new and really good stories we’ve never heard before out there along with new voices, we will begin to cultivate audiences with challenging work and that is sure to start some great conversation. Artists are doing good work out there. If audiences are hesitant to respond, that’s the start of a conversation too.” I’ve seen some really good stories from the Indigenous perspective since I’ve been reviewing so I fully concur with Barker as there is good stuff out there. I’ve been fully engaged when I’ve seen these productions, have asked questions and have learned in the process. As artists and audiences emerge from Covid, are they simply at a survival stage for this next while in listening and hearing the Queer and Trans voices? Keith believes we (including himself) are now at a crossroads where we have to begin that important conversation with the community. Look at what has transpired regarding our grappling with Residential Schools. We’ve moved beyond the recognition of Residential Schools and are now at the beginning of engagement with the issue. The same exists in that we’ve moved simply beyond just appreciating that the queer and trans voices exist. We are now at the beginning of engagement with their voices. Changes begin in small acts. Keith then shared one personal element from his youth. When he was growing up, he was afraid of gay people until his best friend came out to him. He learned long ago that it didn’t matter to him if his best friend was gay. Keith ignored that label and saw the person of his best friend from years ago. He then shared something from former Senator the Honourable Murray Sinclair regarding the Residential Schools issue. It took one hundred and fifty years to get into this mess and it’s going to take one hundred and fifty years to get out of it. The same exists in engaging Queer and Trans voices and their stories. It’s not merely just a matter of survival for these individuals. They have every right to have their voices heard and their stories told. Barker stated that queer and trans stories are as good and worthy as other stories being told in theatres across this country. It’s going to take time to engage with queer and trans artists as we live with them in this country. There are Queer and Trans Canadian artists whom audiences may know and not know. Native Earth was started by two spirited artists. The engagement comes in recognizing that it’s not about the queerness at all – it’s about the artistry in the work. Keith concluded our conversation by saying it takes time to change. It’s a matter of playing the long game as instant gratification does not and cannot occur. Thank you so much, Keith, for the conversation. To learn more information and/or apply to the National Queer and Trans Playwright Unit, visit: zeezeetheatre.ca Previous Next

A talk with a professional artist about their career. Back Shawn Wright Looking Ahead David Leyes Joe Szekeres Shawn and I conducted our conversation through email. When he sent me his headshot, I kept thinking I have seen his work onstage, but where? Forgive me, Shawn, but I had to do a bit of research to see where I’ve seen you before on stage. And then it came clear to me as I remembered his performance as Geppetto in Toronto’s Young People’s Theatre production of ‘The Adventures of Pinocchio’. You brought a tear to my eye as the father who never gave up on his son no matter the odds. And I did see the original Toronto cast of ‘Jersey Boys’. I wasn’t reviewing at that time but loved every minute of that production. Nice work. Shawn holds an Honors B.A. in English Literature from the University of New Brunswick. Mid-career, he trained at Shakespeare & Company in Massachusetts. Other credits include: London Road, The Arsonists (Canadian Stage); the title role in Pal Joey (Theatre Calgary), Les Miserables,; 7 seasons at Stratford Festival; 6 seasons at Shaw Festival; 2 seasons as Matthew in Anne of Green Gables (Charlottetown Festival), Lord of the Rings (Mirvish); Mamma Mia! (Original USA cast); Jersey Boys (Original Toronto cast); Ragtime (original Broadway workshop cast), Oleanna (TNB); Mikado (Pacific Opera); Next to Normal (MTC); Anne of Green Gables (Charlottetown Festival); Oliver! (NAC). Playwright: Ghost Light (published by Playwrights Canada Press); seven productions so far, including a nomination for the international LAMBDA award. Awards: Dora, Guthrie, Newton, MyEntertainment plus many Broadway World nominations. Thank you for taking the time, Shawn, and for adding to the discussion of where you see live theatre headed in a post pandemic world: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. Ok, that's a two-part question. The world I knew? What was the world I knew before March 13, 2020? On March 12, 2020, I was in the midst of a four-month Canadian tour of a play I'd written entitled ‘Ghost Light’. In May and June 2020, I was supposed to act in "On Golden Pond" with two of my childhood idols, Hal Linden and Michael Learned. In July 2020 I was supposed to start “Harry Potter and the Cursed Child" in Toronto. I was happy that after a few months on the road I could walk to work from my own condo in a show that was projected to run for a few years. I was single. I was happy with my lot in life. After March 13, 2020? Ghost Light closed on the road; my upcoming shows were postponed until God knows when. I flew back to Toronto, collected CERB while waiting for college zoom teaching jobs, joined a dating site and met someone great (still together one year later), followed all the important and necessary social and cultural movements with awe and hope, felt happy for the small strides that were starting to happen in that regard, started to reckon with how white privilege was a factor in keeping me working all these years, taught acting by zoom at a few colleges, did a few voice over jobs and commercials, wondered if there would be a place for me in the theatre again, and ...oh, yeah,...basically worried day and night about breathing the wrong air and dying. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? How has my understanding of the theatre changed? Well, large productions (which have been most of my income) will take longer to get going than smaller productions (where i make some but not most of my income). There will be (hopefully) more of an equal distribution of casting in terms of an actor's race and gender and size (which is good) but probably not of an actor's age (which might be bad....for me). As a professional artist, what are you missing the most about the live theatre industry? I miss the laughs in the dressing room from the half hour call to the places call. I miss the satisfaction of a full day's work in my chosen field. I miss the boisterous rush of adrenaline-fuelled chat walking from the stage to the dressing room after a curtain call. i miss the fitting rooms with designers. i miss the glorious relaxation of being in a character I wear well in front of an audience. Well, ok, the industry and the art are two different things so....hmmm, what do i miss about the industry per se? The opening night parties, seeing my name on a poster alongside artists I admire, being part of a community that rallies at the drop of a hat to help a failing theatre company or an ailing colleague. I miss the memorials because we can't gather right now. In February 2020, we had a lovely send off for Mary Haney at a neighborhood pub. It was sweet and touching and raucous and full of love for Mary. There's a queue of dear others for whom we are waiting to do that. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? Having a job in theatre. Having audiences come to our plays. I never really took those things for granted anyway. Describe one element you hope has changed concerning the live theatre industry. That everyone feels heard and represented. Explain what specifically you believe you must still accomplish within the industry. "Must" still accomplish? I don't think in terms of 'must' anymore. I've been proud of the career I've had pre-Covid because it's been exceptionally varied but I'm most proud of the fact that for over 30 years I've been able to make a full time living in the theatre. I WANT to keep accomplishing that. I guess I MUST accomplish that to pay my bills. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. I'd be grateful to be cast in a Covid themed play. I'd be happy to watch a Covid themed play. As an artist, what specifically is it about your work that you want future audiences to remember about you? I'd like to be remembered as an artist whose work was heart-felt and detailed. To follow Shawn Wright at Instagram: mistershawnwright / Facebook: Shawn Wright Previous Next

A talk with a professional artist about their career. Back Jeff Ho Looking Ahead Dahlia Katz Joe Szekeres Over the years in attending Toronto productions, I’ve seen Jeff Ho’s name either as a writer or a performer. I had the chance to see his work in an extraordinary online production of ‘Orestes’ in 2020 through Tarragon Theatre. Earlier in the pandemic when I began compiling this series, I was encouraged by someone to get in touch with Jeff simply because his work as an actor and playwright speaks for itself. Before we began our Zoom interview, I asked Jeff how he had been faring during this time. He paused for a few seconds before he began to answer and I could just sense, like all of us have been feeling, that Jeff had a great deal on his plate during this year plus long absence from live theatre that he was unable early during the pandemic to be a part of the On-Stage Blog conversation. I so wanted him to be a part of this series and to add his voice to the discussion that I was determined not to give up in asking him. When he finally sent me a message saying he would love to chat and to add his voice, I was elated and immediately blocked Zoom time with him. Jeff is a Toronto-based theatre artist, originally from Hong Kong. Acting credits: Orestes (Tarragon Theatre), trace (Remount - NAC/Factory Theatre), Ophelia in Prince Hamlet (Why Not Theatre, national tour: Canadian Stage, PuSh Festival, and National Arts Centre), Hana's Suitcase (Young People's Theatre, tour: Toronto, Montreal and Seattle), Unknown Soldier (lemonTree creations/Architect Theatre), Murderers Confess at Christmastime (Outside the March), Kim's Convenience (CBC), The Handmaid's Tale (Hulu), and Orphan Black (BBC America). As a playwright, his works include the critically acclaimed Iphigenia and the Furies (On Taurian Land), produced by Saga Collectif; Antigone: 方, produced by Young People's Theatre; and trace, produced by Factory Theatre, b current, and the National Arts Centre. His work has been developed with the Stratford Festival, Tarragon Theatre, Young People's Theatre, Human Cargo, Factory Theatre, Cahoots, the Banff Playwrights Lab, Nightswimming Theatre, and he is the current OAC Playwright in Residence at the Tarragon Theatre. His plays are published by Playwrights Canada Press. Jeff is the Company Dramaturg with Outside The March. Jeff is grateful to have been honoured with a Toronto Theatre Critics Award for Best New Canadian Play (Iphigenia); the Jon Kaplan Legacy Fund Award for a Young Canadian Playwright; the Bulmash Siegel Playwriting Award (Tarragon Theatre); nominated for four Dora Awards, and a Harold Award (House of Nadia Ross). He is a graduate of the National Theatre School. Thank you again for adding your voice to the discussion, Jeff: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. It’s completely changed, different priorities personally and some of these are also tied in professionally. I just wanted to acknowledge, Joe, and thank you for reaching out earlier in the pandemic. That’s something that is really true and, at first, it was difficult to reach out and talk to anyone about the feeling, the isolation and just trying to navigate all the cancellations the artists had to go through. It was really quite difficult. Family was also important. I have a baby niece who I am lucky have been able to meet a lot and to see and re-connect with my family before the pandemic. During the pandemic it’s been really distant. My niece is talking, well, she’s babbling but she’s walking. It’s a huge joy to see her at this time. Thank God for technology that way. There are missing moments that I can think we can all identify with because of the pandemic, and it’s been more than a year now. We adapt quickly. Some things remain really difficult to parse through. With live indoor theatre shut now for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? (Jeff paused for a few seconds and I could tell from looking at his face on camera that this would be a challenging question for him) I’m both really optimistic for multiple reasons because of the creativity folks have been able to adapt with through the pandemic. There’s been some really great virtual showings. I felt really fortunate to have worked on ‘Orestes’ with Tarragon Theatre, that was a huge experiment. It was wild because everybody just went in together to collaborate. We made something happen, whether it was equivalent to live theatre or not, I’m not sure. But at the same time, I feel really optimistic that, in all of the adaptations and all the ways we’ll persevere, when we come back live, we’ll be really triumphant, beautiful and joyous. But, at the same time, I have a deep sadness for a lot of the shows that, who knows if they’ll be able to come back or if we’ll be able to see them. My biggest worry is sometimes with, I think of the newest generation of students who just graduated theatre school last May, and the ones graduating this May, and the ones who are in school right now, how it feels to be training over Zoom. It’s [The theatre industry] is a very hard industry to enter, and so I worry about a generation lost and the stories we might miss on. Ultimately, I’m hopeful and I’m trying my best to remain hopeful because it’s so important to do so. Theatre artists are really creative and adaptive. I certainly miss an audience, being in an audience. The [theatre] industry is not dead but Zoom theatre or You Tube theatre is not live theatre, by any means. What I’ve been grateful for with these platforms is at least the connection with the community that can chat with virtually or to see a performance live, even though it’s not live and in person. Through a small technical delay, it always fulfilled a few criteria of going to the theatre but never that full package of being sensationally with an audience, feeling the heat of the lighting design, and the actor really going at it full throttle. Zoom and You Tube can’t capture that heat of live experience, but it always held little bits of that experience that always made the missing part a little deeper each time, but at least I’ve been able to see other artists over Zoom. Or chat with other audience members I’ve seen over the years. The fun is having national audiences and national connections through the internet. That is something I hope we take forward where we can workshop a play with other artists around the country As a professional artist, what are you missing the most about the live theatre industry? So many things, but the first that comes to mind is the pre-show experience and immediate post show experience, and the actual show, of course. Those were the moments especially in the preshow you’d be like, oh, there are people I want to connect with, the ritual with the programme that is given to me in recognizing someone I’ve seen earlier or a new face on the stage whom I haven’t seen. Sitting and waiting for the lights to go dark and lose whatever was carried in from the outside world or sometimes you’ re carrying it fully on account of the show you are seeing. And the moment after, where there is always that ‘moment’ of celebration or that moment of judgment, or for better or worse, I have taken all those moments for granted. That moment of discussing what we just saw with friends. Ultimately, it’s the community in the preshow and post show experience that builds into an audience and then magically dissipates until the next time, whether it’s the next performance next day, next week. Every theatre does its preshow differently. I love the preshow experience at The Theatre Centre with its café or outdoors. What I also miss is the shared laughter and the shared tears. When we come back it’s probably going to be incredible laughter at any joke and any actor who tries to make a joke, and we’ll all be, “Yes, thank you very much for that.” And the actor just instinctively knows to stop for the laughter and everyone is going “Yes, we’re all in this together and we’re right there.” And the actor just picks it up on a dime. Oh, and also the shared complicity when we see something tender and felt and we feel that tear in the corner of our eye. 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? So much of it…(Jeff paused for several seconds and again I could just sense that he and me too are missing live theatre so much) I never want to take for granted the experience and privilege of having a platform on stage and telling a story. I never want to take a story for granted again. It’s wonderful that we’re chatting right now, you and I, but it’s been a heavy week of stories in the news cycle for real both nationally and internationally. It makes me think of the stories that while I was rehearsing or while I was writing, we get exhausted because we work really hard. The artists put in so much time out of passion over economics. At times, it felt like okay I’ll just put it up and just do the thing, I’m just going to rehearse it. And I never want to take for granted whatever the story will be, that chance to connect and share something in a laugh, or something really ridiculous, to celebrate the small joys. If I make a mistake on stage, I also don’t want to take that for granted. It felt like that in training as an artist for so many years that there is that pursuit of perfection, like there’s a perfect way to tell a story. This last year plus away from live theatre has shown us how we can embrace those imperfections and adjust to them, that’s all part of the story. Even in live theatre when an actor ‘corpses’ or a prop breaks in performance on stage, I don’t want to take that for granted again. That’s a moment to connect and think, “Look, we’re in a theatre. Things don’t always go as planned. Isn’t this beautiful?” Describe one element you hope has changed concerning the live theatre industry. Yeah, hmmm…. It’s really exciting and also sad, I’m not sure if sad is the right word, but there’s a monumental shift that’s going on with the theatre nationally too. Every week so far has felt like there’s been new news of departure of artistic director who have been leaders for twenty years. There’s a major shift around of who’s helming these theatre companies that are also in quite a vulnerable position, programming wise and resource wise. And so, with those shifts in leadership, I also see a shift in what artists are identifying quite simply, I’m just going to name them, reckoning equity and diversity inclusion that we’re seeing across many companies. Last summer it was pretty hot with Black Lives Matter, at times informative and at times really felt an active way of change. More recently just this past month with ‘Stop Asian Hate’. There’s been a different way to see how the companies are reacting politically and seeing sometimes the inaction of it. Empty words. And sometimes seeing individual artists rise up and speak and demand the change within theatre. I hope there’s a more embrace of those real-world politics and real amplification of artists who have those stories and the urgency to tell them, and the space for that to happen to really and honestly and safely and bravely engage with those conversations in the theatre in a way that we haven’t been able to achieve in the past. I feel it’s all connected to the new leadership we will see in the coming years. Explain what specifically you believe you must still accomplish within the theatre industry. (Jeff carefully pauses and thinks) Must accomplish…oooo… (several seconds to pause and to think) In a really selfish way, one of the cancellations last year that really broke my heart was I slated to perform in ‘M. Butterfly’ at Soulpepper directed by Nina Lee Aquino. I was to have played Song Liling. This role has been my dream role since theatre school, since I was 17. That cancellation really wrecked me in a real personal way. Since then, ‘Orestes’ at Tarragon was my one acting experience, but I’ve been very, very grateful to be able to maintain playwrighting commissions and begin new plays with different theatre companies I haven’t had a chance to work with. And so, my personal must accomplish, is in some capacity with whatever company, I still hope to tackle that dream role and play one day. ‘M. Butterfly’ is so beautiful, and I so wish to share that story and I’ve been yearning to play it. So that’s a real personal must accomplish and, in the scheme of being connected to the companies I’m in service with right now, yeah, I feel like I must accomplish my playwrighting duties. It’s my passion, playwrighting. Duties isn’t quite the right word. I both love serving and writing for my Chinese Canadian community and really specific ethnic stories to really broaden these representations on stage. But I also love adapting Greek classics, and I really love adapting classics from the Euro central canon, and that’s part of the interrogation of why I adapt them. My two Greek play adaptations are being published by Playwright’s Canada Press this fall, and already I’ve had conversations with universities or theatre school students who always have to go to theatre school auditions with a classical monologue. But now I can provide, even in some small way, a Chinese specific Antigone so that Chinese specific students can still find a classical monologue that somehow sees through this culturally specific lens just a little bit more. That’s something I feel I can accomplish is to continue adapting new stories that speak to a community that’s close to my heart, and then to also, with a lot of whimsy and mischief. adapt a canon that I want everyone and folks who have felt other from it, to feel safe in tackling them and grappling them, with a lot of fun and with a lot of play. That feels like a little passion that I have. 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 think it’s inevitable, and I think the theme will be more surprising than we may think. There will be ones that will go into the isolation of the experience, but I also think about the experience of the audience. I keep on thinking how we always have a cougher in the audience. That’s now going to have a different meaning when we go back. When the actor and the audience now hear the cougher, it’s now going to be “Ummmm….” In terms of stories, however subtle or however on the nose the Covid reality is, ideas around isolation, ideas around being hermit at home, ideas around hygiene in our going to the theatre, that’s going to shift. I think it’s inevitable that we’re going to have a series of plays that will capture this moment. Or through the lens of Covid, there might be some plays that examine some of the things we’ve talked about during this interview because it’s been a year of great strife and inequality, and it’s all been through the lens of us being often at home, unable to take to the streets or in limited ways to mobilize with communities. We’ll hear those stories with a touch of reality that Covid is. As a professional artist, what specifically is it about your work that you want future audiences to remember about you? That’s a tough question. I’m not sure. Okay (and Jeff pauses again for a few seconds) I want everyone to remember joy, mischief, and that trickster quality that’s both really sad - laughing until we cry until we laugh. That’s what I hope people will remember from some of my plays in a real, simple, human way. But I also don’t mind if I am forgotten quite honestly because that is the cycle of things and the cycle of life. But I hope the books will live on even if my name is lost, it’s okay. Follow Jeff on Twitter: @kjeffho. Previous Next

A talk with a professional artist about their career. Back Nina Lee Aquino Self Isolated Artist --- Joe Szekeres What a delightful conversation this afternoon with Factory Theatre’s Artistic Director, Nina Lee Aquino. An absolute pleasure in hearing her speak, rather candidly, at times, about how she has been coping as a self-isolated artist. Nina Lee is choosing to remain optimistic in the face of this pandemic. Just from listening to her today, I felt reassured that she is another strong individual to lead Factory out of this darkness right now of uncertainty and confusion into whatever the future may hold. She put me at ease very quickly with her witty sense of humour combined with her dynamic spirit of counsel and fortitude especially in how she is looking where she will take Factory over the next few years. Nina Lee and I conducted our conversation via Zoom: It has been nearly three months since we’ve all been in lockdown. How have you and your family been keeping during this period of isolation from other immediate family members and friends? Well, it doesn’t feel like isolation other than the fact than I’m just really at home for almost 24/7. In terms of workload for myself if anything it’s been a lot more. We’re a family of 3, my husband, Richard, and 13-year-old daughter, Eponine. Surprisingly or maybe not so surprisingly everyone has been busy. I mean everyone in the family. My 13-year-old daughter is juggling her school which has fully transitioned online. She’s had a couple of theatre gigs – online workshops or online presentations- with different theatre companies (YPT). Her movie also premiered online with the virtual edition of the Canadian Film Festival. She’s done some PR work. Apart from school, she’s had her own theatre work and the responsibilities that come with it – reading the script, making sure she’s being a good actor, and doing her homework. That’s occupied her time. Richard is a theatre artist. His teaching online during the lockdown time with Humber is done. He’s involved in advocacy work with various boards of directors that have transitioned online. He’s had some theatre gigs and some online workshops where he gets hired as an actor. And there’s me balancing Factory Theatre and PACT. I also have to help ensure the bigger picture nationally of what theatre companies are going through that I am there with them to help contribute, to help solve, to comfort or agitate (at times). I have to be at the very top helping the theatre companies go through this crisis together and be a unifying force in many ways. So, that’s the work I do with PACT. And then there’s Nina Lee Aquino, the artist. Lots of little Zoom meetings, fielding phone calls where I’m comforting the distressed and the confused. I’m also helping to comfort the anxieties with the emerging artists. I have fresh theatre graduates from York University who are really scared and confused and just want to know what they’re stepping into in this theatre community right now. So there are a lot of meetings of this kind going on and they add up in the day with virtual coffee chats, ‘talk it through’ with a lot of listening. My June calendar has filled up but July’s calendar is looking good. I think I’m due for a vacation in whatever form that takes for awhile because at some point I really need to stop and recharge. It is unrelenting but that is the job and the role of Artistic Director. And then we have to be a family of mother, father, daughter, husband, and wife, and just be together as a family only. We can be together in a space but are we really together and present for each other? I’ve scheduled no Zoom meetings on Saturday or for a certain day. Because of this COVID situation, because I try not to do anything on Saturday or Sunday, then I’m restless. It’s not like I can go out. It’s just so weird where I’ve been working at home for 40 plus hours and now, I’m not expected to leave the house except for essentials. What has been most challenging and difficult for you during this time both personally and professionally? What have you all been doing to keep yourselves busy? Personally, I think it is connected to the profession. Before COVID we as a family have accepted that our personal and professional lives will always be closely intertwined. I’ve stopped fighting as these are two beasts that need to live together. I’ve stopped attempting to place things in innate little columns as it just doesn’t work for our family. There’s an acceptance in the three of us that personal is professional, and professional is personal. Who we are as human beings is who we are as artists. The challenge right now really is about space. That is the one as a family we are trying to manage in this tiny Toronto shoebox of a condo. We have a dog too. The navigating of the physical spacing doesn’t really work with the professional space that is required which in turn is also emotional space. With the advocacy work I’ve done the last couple of days, how do you shed that for awhile? The final piece because personal and professional are merged – for the first time, my daughter is getting a clear idea of what I do. I have to allow her to witness me at work going through everything from the hardest bits to the glorious bits. At 13 (a crucial age), when she’s trying to figure her own shit out, what a way to learn things that I can be there and have those candid conversations with her. My kid has turned out really cool so I know we’ve done something right with her and we’re just going to go with the flow. My lovely husband has gifted me with a bike so that I can, in those small moments, hop on it, go ride around and come back. As a family, we rode our bikes together last weekend and then had dinner in a park together. I wouldn’t have thought that a bicycle would be a gift. Just give me a diamond necklace or get me shoes. The bike has come in handy. My husband gets to go out more as he is freelance. He does the grocery shopping, the errands because he’s the driver. For me, besides bike riding, I should think of something else to be able to unload for a bit. I should try to find a hobby outside all of this is a challenge. That hasn’t changed. Maybe I’ll try to grow some plants in my balcony but wish me luck because I’m horrible. My cactus died. Who kills a cactus? I know it’s awful, but I should also have some outside interests and I’m going to try. I’m a work in progress. I can’t even begin to imagine the varied emotions and feelings you’ve been going through personally and professionally with other key players and individuals with regard to Factory Theatre’s future. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts and theatre scene and on Factory Theatre? Yah. Here’s the difficult part of these COVID conversations. There’s just no answers as information keeps evolving every 48 hours. The only certain things are that it’s here and what are the safety measures to combat the spreading of COVID. We’re still talking as if it’s going to go away. Right now, we are transitioning to new conversations of “What if COVID is going to stick around like the common cold?” “What if it never goes away?” “How do we deal with this shit?” Part of me is still not accepting and that we will come back as normal as normal can be. Part of me thinks there’s going to be a season next season. Part of me says there will be people who will come through our doors and sit side by side. And it’s just not going to happen. That uncertainty is killing the vibe. No clear answers with very conflicting events that are very confusing. It’s also scary because what do we follow? What do we do? Not all provinces are ready to open while some are. For me, who also freelances on the side, what are the possibilities of doing my gigs in Winnipeg when Ontario is on semi-lockdown? It’s tricky. I worry in thinking about it. If it’s here to stay for a while, it affects what I had planned for next season. Now I have to look long term. It’s a delicate juggling balance as AD. In postponing productions, what other artists are you screwing over that season or next season? With Factory, I’ve roughly 3 seasons roughly sketched out with commitments whether it’s commission or a verbal promise. One way or another, it’s hard emotionally to balance but that’s what Covid is doing. The easy thing is to sanitize and clean theatres all you want. The programming and long-term commitments to artist and custom tailoring programming to the safety measures of this illness and virus are the impacts of COVID on Factory Theatre and on future seasons. I’m really worried about the artistic side, and the audience side is another concern. These are things that sometimes keep me up at nights. It’s not going to affect next season, but I can see it affecting at least all three seasons following. Do you have any words of wisdom to console or to build hope and faith in those performing artists and employees at Factory who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? In terms of within Factory between me and Managing Director Jonathan Heppner, we’ve come to the fact that no matter what happens we will figure it out. If there’s anything that I am confident about is this uncertainty of COVID is that like true theatre artists we will work with it, around it, through it because we’re theatre artists because we make the impossible, possible. Full stop. For the grads, I was asked to speak to York University’s grad Zoomation. I was newly appointed as Professor Adjunct. Given the circumstances that we have gone through in the past couple of days, the pandemic is one thing but to be on the brink of a real awakening. That is really the lasting impact that I’m hoping. This pandemic requires us to sit still for a while that we use it to our advantage. To the theatre grads – you only need to look at your social media feeds to get what you need to get and to learn, and you are afforded the time to do so. There is no excuse anymore to not know anything. In choosing your own artistic path, coming out of this, we can be better human beings. The knowledge is out there. Stories were given out freely and put front and centre for us to now use and to learn from. For our theatre community given the racial injustice protests these last few days, this is a real awakening. We need to do better. It’s ok to say, “I fucked up.” This is action. There is also an expectation of re-thinking your programming to what we’ve just learned to have a really inclusive season. There is time now so break down your default theatre artist list and create a new one. Read new plays, make new connections to artists who don’t look like you. Read new voices. What can I do to show my solidarity to be a better human being? The resources are there. What can I do now to be a better ally and show my solidarity? It may mean starting all over again, but now is the time to start doing it. It’s good, it’s needed. We needed this pause. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? We need to make sure spaces are safe in theatre for mental health and the racial injustice protests from this last week are showing this. COVID 19 has proven regarding our work schedules, at least from the theatre administration side that with some jobs, we don’t need to follow the strict ‘labour-esque’ work schedules. Sometimes, some of our work can be done from home. Right now, my staff at Factory is fucking kicking ass since they’ve been working from home. I love it. Even though we miss each other, my staff looks healthier, no one looks burned out, there’s no lack of rigour since they’ve been working from home. We can be a bit more flexible. It’s not just about counting hours, but it’s also about quality. YouTube presentations, online streaming seems to be part of a ‘new normal’ at this time for artists to showcase their work. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I have come to accept the fact that as long as we’re creating, we’re good. Factory has done several virtual presentations, very successful. I am done labeling what we’re doing. I think that’s part of the problem. We’re just going to do what we do best. There’s space, there’s actors. The three virtual presentations in May and June was a way for me to pay artists and to keep the creativity going while we can. It’s also pure audience engagement and it’s our duty to check in with everyone’s souls and that Factory audiences are ok. First and foremost, I am a theatre artist. Like the virtual presentation of ‘House’, we need to be aware of new medium. Let’s play with it. That’s what theatre artists do. We push with certain things, but we have to be open to learning how to play with the new technology. There are digital artists out there who are good out there and it’s important to reach out to them. I don’t want to say no to discovering new things and new forms as they may go hand in hand. As theatre artists, discovery is one of our tenants, and we need to open to new tools and to whatever form and structure theatre may be through artistic sensibilities and telling great stories in whatever medium possible. As AD, there is a need (of funds, resources, tools) to invest in playwrights writing in a different stage. I’m not abandoning the traditional theatre format, but I have to look at investing in new processes for delivering work. Maybe Factory Season can be traditional and a couple of virtual plays online. I will never say no to creation. What is about your role as Artistic Director of Factory Theatre that COVID will never destroy? I think it’s very clear from our nice conversation so far is the thing that COVID did not affect at all is the advocacy work. The COVID can cancel my artistic programming, the COVID can re-arrange how I work administratively. That’s good it didn’t destroy advocacy to look after my community, local, Toronto, and the larger community. It’s both a burden and an honour. It’s just exhausting as you can’t stop taking care of a community. The community is playing catchup in this re-awakening. 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? Metamorphosis 2. What is your least favourite word? Universal 3. What turns you on? Hmmm…a really good design jam session with my creative team. Yah, Yah. 4. What turns you off? Indifference. 5. What sound or noise do you love? The first sound cue in a cue to cue session. That first official sound cue when we’re running a tech rehearsal. 6. What sound or noise bothers you? Car honk. 7. What is your favourite curse word? Holy Fuck. What is your least favourite curse word? (Thank you, Nigel Shawn Williams, for this addition to the question) Cunt. When I hear it, it makes me go…(and Nina Lee shrugs her shoulders). (At this point, Nina Lee and I laugh together a tad awkwardly but also a tad conspiratorially at this second part of the question.) 8. Other than your current profession now, what other profession would you have liked to attempt? If I had the intelligence and the ability, I’d love to be one of those pure mathematicians. The ones that create proofs. That world to me is magic to understand numbers in such a meta magical way. If not, maybe a conductor of an orchestra. The waving and knowing you can control music coming at you from all angles. When I watch conductors of an orchestra, man, I wanna be there. 9. What profession could you not see yourself doing? Oh my God, 98% I think first and foremost my friends (including Nigel Shawn Williams) would vouch for this – anything to do with nature ‘cause I hate it. Mountain ranging, gardening, even mowing the lawn, I will mess it up, fuck it up, or I will not care for it ‘cause I hate it. 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “How the fuck did you get you get here? Seriously? Who gave you a pass?” I feel like I’m destined to go to hell. I think God does cuss, I really think he does, but it’s okay ‘cause he’s God. To learn more about Factory Theatre, visit their website: www.factorytheatre.ca . You can also visit their Facebook page and Twitter accounts. Previous Next

A talk with a professional artist about their career. Back Rebecca Northan "Improvisation is completely alive, completely responsive. There's honesty, a sense of permission and relief." Both photos courtesy of Rebecca Northan Joe Szekeres At the height of the pandemic three years ago, I had the opportunity to Zoom with actor and improvisation artist Rebecca Northan. You can find our conversation link here: https://www.onstageblog.com/profiles/2021/1/31/theatre-conversation-in-a-covid-world-with-rebecca-northan. Fast forward three years and our conversation continued. She’s a busy lady but enjoying every second of it. Rebecca has just closed ‘The Applecart’ and ‘The Game of Love and Chance’ at the Shaw Festival. What else is coming up for her? Not in performance since the pandemic, ‘Blind Date’ returns to Regina’s Globe Theatre on October 18. ‘GOBLIN: MACBETH’ opens October 14 in the Studio Theatre at the Stratford Festival. She will write and direct JACK: A BEANSTALK PANTO this holiday season, which opens November 24 and runs to December 23 at the Capitol Theatre in Port Hope. Northan calls GOBLIN: MACBETH a very new show. It has never been performed in Ontario. It was developed in 2022 for The Shakespeare Company in Calgary and described on its website as: “[a] theatrical experience not soon to be forgotten. It is a three-hander, mash-up [whereby] audiences are brought to the edge of the seat for a ‘spontaneous theatre’ experience.” At Stratford, the show features musician Ellis Lalonde, Northan, and Bruce Horak, her creative partner, who have all performed the show out in western Canada. Northan and Horak have been making shows for over thirty years. What’s the ‘mini story’ behind ‘GOBLIN: MACBETH? These creatures have found a copy of ‘The Complete Works of William Shakespeare’ and have read it cover to cover. They wonder who this Shakespeare guy is as he knows a lot about witches, fairies, goblins, and monsters. If the Goblins try to do theatre (and they’re unconvinced it’s a good idea, but they’ll try), they may understand more about humans. They chose ‘Macbeth’ because it’s the shortest. Rebecca and I agreed the Scottish play is terrific for high school students as they seem to love the witches, blood, gore, and murder. She even goes as far as to call it one of our perfect plays: “It’s got everything. It’s dark, scary, sensational. There’s something watching the train wreck of blind ambition.” As a retired teacher, I know the importance of getting kids to like Shakespeare. What better way to do that than to take them to a live production? Rebecca stated that she, Horak and Lalonde have performed ‘GOBLIN’ for student matinees in Calgary and at Vancouver’s Bard on the Beach. She compares performing for students to a rock concert. Rebecca and Bruce adore Shakespeare and remain respectfully faithful to Macbeth’s text. However, the two come from an improvisation background. Along with Lalonde, according to Rebecca, the three of them have ‘an internal permission’ to break out of the text at any time if something occurs to them. They can do this if that improv moment highlights something in the play, is directly related to it, or what’s happening in the audience at any given time. As actors, they are responsive to what’s happening in the room. Young people at student matinees don’t know what to expect; however, combined with the appearance of the Goblins and all the ensuing hijinks that follow, the students all wonder what this play is they’re watching. “That’s how we won them over,” Rebecca stated with an accomplished tone. I’m sure what the three of them accomplish for the student shows also applies to the other performances. Three words came to mind when I saw the Bard on the Beach trailer for ‘GOBLIN’ – creepy, eerie, but fascinating. Northan loved these three descriptors and said they’re apt for the production. What caught my eye immediately in the trailer was the Goblin mask she, Lalonde and Horak wear. These single silicone headpieces, which fit snugly to the face, are made by ‘Composite Effects’ in the States. The picture above next to Northan's headshot shows the three actors in costume. There is some articulation for the three actors, and the masks move slightly. For Rebecca, these headpieces are: ‘wearable works of art. There are veins in the headpiece and depth to them. They’re quite remarkable.” What is it about improvisation in GOBLIN and in the upcoming holiday panto for Port Hope’s Capitol Theatre that makes for great theatre? “It’s completely alive, completely responsive. There’s honesty, a sense of permission and relief. Improv lets the audience know they’re seen. I think, especially after two years of the pandemic (which we say is over, but it’s not), of being disconnected to having an experience where the performers see you and connect with you is so essential. It is the thing that live theatre can offer that nothing on your laptop or streaming device can…this modern notion of improv being a separate practice has never made any sense to me because there’s been improvisation in the theatre as long as there has been theatre.” With a wink and a twinkle in her eye, Northan says misbehaviour and it being in the best way is the hallmark of the work she does constantly. Misbehaviour is something our world needs right now. Once ‘Goblin’ concludes its run at Stratford, Northan is off to Port Hope’s Capitol Theatre to write and direct the Christmas/holiday fairy tale panto. She’s always loved fairy tale storytelling and listening to many accounts. She mentioned she heard a CBC broadcast that the ‘Disneyfication’ of fairytales has done a disservice as they serve to warn listeners of the dangers out there in the world but not to shut ourselves from it. Rebecca is looking forward to the experience. Although she’s never performed at the Capitol, she has known the Artistic Director, Rob Kempson, for over 15 years and says he’s terrific. (Side note: I agree, too). She’s excited that Rob trusts her and gives her free reign to prepare. Kempson is also a wonderful dramaturg and has given her excellent notes on the script so far. She’s written the Naughty version already. The Family version will simply have the mature references removed. Kempson told Rebecca that tickets to the Naughty Panto outsell the family version. She is utterly fascinated by the fact there is this hunger for naughty fairy tales. She says it’s not dissimilar to GOBLIN in that audiences want something familiar with a twist on it. It does something for us as audiences. The first panto I saw at the Capitol was rather adult in nature. A cast member carried out a particular adult toy without going into specific details. Rebecca’s version will not be that ‘adult-naughty.’ She and Rob have had some conversations already. Rebecca proudly states she is a storyteller first and foremost. She has to make a good play that will tell the story of JACK AND THE BEANSTALK – a pretty thin narrative – so what can she do to augment it? Then the jokes can come. Northan is more interested in naughty, cheeky double-entendres than overt dirtiness for the sake of dirtiness. The latter is of no interest to her at all. She describes the adult text as ‘flirting with the line’ while still telling a story. There’s nothing more satisfying than great double entendres. The line can be very innocent, and what the audience brings to it makes the double entendres. That’s an extraordinary meeting between the playwright, performer, and audience. ‘Blind Date’s’ performance runs at the same time as at the Stratford Festival. Although Rebecca is delighted it’s back, the play is still dangerous. A stranger will be brought up on stage each night and made the star of the show with the hope this person does not have Covid since the setting is a small space. Because ‘Blind Date’ exists in the present moment, it’s growing and changing, and Rebecca is thrilled the script continues evolving. “As it should be,” she quickly adds. The play is always for sale anytime, and anyone can book it. What’s next for the artist after the panto concludes at the end of December? She and Bruce Horak have been commissioned to create GOBLIN: OEDIPUS for the High Performance Rodeo put on by One Yellow Rabbit in Calgary. That’s happening in January/February 2024. Northan and Horak are also waiting to hear about some grants if GOBLIN: MACBETH goes to Edmonton. She’s also directing Shakespeare’s ‘Comedy of Errors’ at Bard on the Beach in the summer of 2024. To learn more about GOBLIN: MACBETH, visit stratfordfestival.com. To learn more about Port Hope’s Capitol Theatre, visit capitoltheatre.com. To learn more about ‘Blind Date’ at Regina’s Globe Theatre, visit globletheatrelive.com. Previous Next

A talk with a professional artist about their career. Back Jim Millan Looking Ahead David Leyes. Joe Szekeres Jim Millan has had quite the diverse career in the theatre and beyond, and his work has taken him to some places that I would love to see one day. I knew he had founded Toronto’s Crow’s Theatre and directed some productions there, but I had no idea of how extensive his work has been. He has directed comedy, dramas, magic and musicals on 5 continents in 38 countries in 17 languages and premiered over 185 new works in his career. Jim has a long series of innovative creations in theatre, comedy, magic and variety that has taken him from Canada to the West End to Radio City Music Hall, Las Vegas, Broadway and beyond. His unique talent is in demand as director, writer, producer, deviser of diverse and unique new entertainments built on his decades of experience in the traditional and less traditional theatre. In the 90’s Crow’s Theatre had produced the Best Play winner at Toronto’s Dora awards 4 out of 6 years. During this period Jim made his reputation directing such daring plays as Unidentified Human Remains and the True Nature of Love, Come Good Rain, High Life, The Chet Baker Project, Dali and others. Praise for Crow’s Theatre and Jim Millan included USA Today calling it “everything theatre should be, dangerous, daring and disturbing.” He directed the Canadian premieres of Hedwig and the Angry Inch, Shopping and F*cking and numerous other revolutionary new works from New York and London. Crow’s Theatre in Toronto has continued to thrive under new stewardship and is now a multi-million-dollar hub of cutting-edge theatre. He also was one of the founders of the Toronto Fringe and Crow’s was its corporate parent in the first year. Outside of his company, Jim began a decades-long collaboration directing the Kids in the Hall comedy group, which started in 2000. This work brought him to the attention of US producers. Five North American tours and special headlining performances have kept the 1990s comedy icons in the public eye, and they are now writing a new AMAZON TV series. Among his more explosive creations, Jim teamed with Adam Savage and Jamie Hyneman to create Mythbusters Live, which sold out across North America and toured Australia and New Zealand multiple times. Among his favourite experiences, he worked alongside Teller and Todd Robbins on Play Dead off Broadway, Mexico City and at the Geffen in LA. Another large-scale adventure was as the original Creative Director for The Illusionists, which opened in New York City in December 2014 and set an all-time record for a magic show on Broadway. As a comedy writer/director he created with his comedy partners SPANK: the 50 Shades parody which played over 400 cities and it has been produced in Australia and Poland. Jim’s love of comedy and unique entertainments were displayed in Off Broadway hits, The Marijuana-Logues with Doug Benson, Arj Barker, Tony Camin and Tommy Chong, and the Korean martial arts comedy Jump. Jim is also in demand as a creative consultant, having stepped in on SPIDERMAN: Turn off the Dark on Broadway working with Bono, Edge, writer Glen Berger and the creative team to help save the biggest musical in Broadway history. It ran for 3 years after its revamp. He is also a creative producer of the Governor General’s Awards Gala in Ottawa (which are Canada’s Kennedy Centre Honours). Past entertainers he has celebrated at the awards include Michael J. Fox, Martin Short, Sandra Oh, Andrew Alexander, Catherine O’Hara and Ryan Reynolds In development for the next twelve months, he has a play he co-wrote and will direct based on the book The Darkest Dark, by Astronaut Chris Hadfield, that premieres at Young People’s Theatre when possible. He is also collaborating with Lucy Darling on a new TV comedy and also with Penn and Teller for a touring project inspired by their TV show Fool Us. We conducted our conversation via Zoom. Thank you so much for adding your voice to this important discussion about the evolving world of live theatre in a post pandemic world, Jim: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. I see the fragility of the world we’ve all lived in up to this point differently. Lots of us tended to tie our self-worth to our work, our status, that things are either progressing or regressing in our work lives. That work was disproportionately important in what many of us thought success or happiness or contentment was. I’ve got a teen daughter and a pre-teen son as well. What became very clear was that the pandemic gave me a pause to see where I really was in my life and where my kids were in their lives. My work has been international for quite a while, so there have been times where I’ve been away three or four months during the year. And so I am grateful for this time and this has felt grounding to be here at home and to help the family and other people who need it. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered? Well, when we come back, the gatekeepers will have changed. A lot of the organizations will have had to do a lot of soul searching. And so, we will have the traditional crisis of live theatre, which is how do you balance all of the challenges of attracting an audience, building an audience, making an audience care and balance it with the influx of new priorities and realignment of so many of our assumptions. To me, that’s an exciting time. There’s going to be a lot of people who don’t come back. There will be a lot of people who will step away, both audience and artists. I think there will be a huge attrition in the audience attendance. I was an Artistic Director in Toronto after SARS. At that point, before SARS happened, you could have 6 or 8 hit plays going on in Toronto that would be sold out. There’d be a review in the newspaper and the next day the first half of the run would be sold out because people would just get on the phone and know that if they wanted to catch that production, they would have to be quick or there might be limited availability ‘til such and such a day. Well, that went away. We’d lost the habit. I hope it’s the opposite and there is instead a pent up thirst. That’s a little bit of weather forecasting and the one thing the pandemic has taught us: we don’t know anything. An image that I have nostalgia for is that lots of theatres around the planet have things are set on stage exactly the way they were on March 13, 2020. Costumes on hangers in the wings, things in dressing rooms, props on tables, sets; we didn’t come back as quickly as we hoped. As a professional artist, what are you missing the most about the live theatre industry? I miss the people. I realized a number of years ago that one of the skills or changes I’ve observed in myself is that I’m a better collaborator than I’ve ever been. And because being in this business for a while is humbling, and it’s energizing and defeating and you certainly learn, if you’re fortunate enough to be able to work with great people, that the experience, the journey of making something is equal to whatever the output is, if not more important to you as a person. And so, I miss that adventure terribly. Also, I think when all of the things converge correctly that honest exploration, that adventure process you go through with the other people ends up, no matter how exhausting it is, giving you a lot more than you put in because of the sum of the energy of the group. I just miss people. I miss the fun of it. I miss the laughter. I miss rehearsal halls. I miss having a problem that’s insurmountable, and then gifted people working together, take it apart, parcel it out, solve it, surprise each other and then you go on. A big challenging production is like the film version of ‘Lord of the Rings’. A huge number of small incidents, victories and defeats and somehow just getting to the end without too many people dying along the way is your duty. And pretty exciting. Crisis reveals character. Some say it builds character and yes, over time that can be true. And what has been interesting to me is that the people who have been able to flourish have found a way to take their creative energy and be of service. That has been a salvation for me. Being of service to my family, to my children, other artists that I know and just community people that have been hit far harder than I have by this storm has been key. As artists, as this clarifying, challenging time is upon us, when we come back, those of us who are able to come back, will have a greater sense of purpose and perhaps will have refined our values because of what we’ve all been through. When we get back into a room again, we’ll be looking at all kinds of people who have been traumatized in all kinds of ways. There will be a lot of laughter, a lot of healing. I hope there will be renewed sense of purpose and renewed joy in making things. We’ve been through a storm that has affected all of us differently, and I hope there will be a kindness and generosity of practice. We’ll work on it together. 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? Being busy. (Jim laughs again) I’ve been really, really busy for around 20, 30 years. I always knew I was blessed to be that busy and have opportunities and be able to complain about having to travel so much. I also miss working in different situations and cultures with artists whose careers and taste and experiences are vastly different. I love being surrounded by people smarter and wiser than I am. Also, the challenge of making something original with fun people. Describe one element you hope has changed in the live theatre profession. Oh, I think it was a tremendously hierarchical organized creative endeavour. That’s not even taking into account the more commercial world I’ve often worked in, in the States and other places. I hope the assumptions of privilege are shattered – whether that’s white privilege, male privilege, class privilege and the pomposity of some of the folks who having been doing it longer. I’ve long observed that change was coming. This last year, I think, “the theatre” has been shaken to its foundations, which is a good thing. I don’t think I’m the only person who is curious as to what happens next. As the business of theatre, as the cultural force of theatre re-opens and touring begins (I’ve directed a lot of things that have toured significantly) it will be interesting to see what the audiences choose. Will they go on the new journey being offered by new artistic leadership like the late 60’s and 70s because the work connects with both existing audiences and emerging audiences? I’m ready to lend a hand. We’ll see. Crow’s Theatre was born in the second wave of founding of Canadian theatres centered on Canadian voices in the 80s. We were looked at skeptically. Brash new voices. So I hope this re-emergence will be a new wave of Canadian theatre. I’m ready to help and certainly know a lot of people who are in that world and there will be a time and place. I’d like to spend more time in Canada now. I’m not planning to do as much of traveling as I used to do. Let's hope that there’s an opportunity for all of us to find ways to support this next wave. We won’t know what the needs are. The challenges are post-pandemic and that’s why I think it will take a multi-layered effort from not just the artistic community but also the audience, the funders, particularly the philanthropists, the corporations. If we don’t rise to the moment, we’ll see theatre fall back significantly. I think in the short term it will take a lot to get people back, and then it will take very nimble minds and strong backs to carry us through this next period and do the next, ultimate thing – attract young people – to come to see it. If we’re not getting young people to come to see what we do, then it’ll be the progress of 50 years of significant Canadian theatre production lost. I witnessed Canadian work being culturally important, and not just being a side bar knowing that plays, playwrights and our artists can make a difference. For that important progress not to be diminished, we need to have a lot of hands on deck. Explain what specifically you believe you must still accomplish within the industry. I need to keep lifting up younger artists. I need to keep surprising people and myself. I need to lead by example because the best artists I encountered when I was young were ones able to teach me without it always being necessary to explain themselves. The people that were inspiring were able to talk the talk and walk the walk. You need to be inspired because art needs to be brave. Artists who last and also keep challenging themselves need to keep having fun, idiotically persevering and be generous of spirit. If we keep playing the game the right way, the next generation will play the right way. It’s not as if the game doesn’t evolve and we don’t evolve, but there’s just something to be said for those who have done it for a while, and to be open hearted to sharing how we do it, humble in the face of it, as it’s been a privilege to be able to do it this long and still have a chance to do it. My next Toronto-based project is a new play I’ve adapted from one of Chris Hadfield’s books ‘The Darkest Dark’ for Young People’s Theatre. It was supposed to have been on stage and running at this moment if all of our plans had come together. It’s scheduled for when it’s safe for all of us to gather. It’s nice to be doing a show about bravery and courage. It’s certainly got an inspiring message. Magic and wonder are what artists need to accomplish now and always. 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 believe there will be a wave of pandemic plays. (Jim then laughs and says) I don’t think anybody is going to be doing a lot of those. I think when the Fringe, which I helped found, happens in person again 15 months from now or whenever that will be, I think the person who gets into the Toronto Fringe by lottery and announces “My Pandemic Days” will have exactly zero people in line to go see it. That’ll be a hard “no” from all of us who lived it. (And Jim laughed again). I’m very curious to see what some of the writers who have been able to flourish have been up to. I hope those others who have been maintaining their energy and just hanging on will get busy again. I think it’ll be indirect, and I think there will be a lot of plays about revolution. I think there will be a lot of comedy, which I look forward to. We all are looking forward to some comedies. As an artist, what specifically is it about your work that you want future audiences to remember about you? I think the work was daring. I think my work has a great sense of humour. At least to me, and luckily, some other people think so, too. A boldness. Creating an honest and challenging question with the form and a playfulness with the audience so the show isn’t just like everything else. That I did my very best to surprise them. Previous Next

A talk with a professional artist about their career. Back Sarah Orenstein Looking Ahead Howard J Davis-Haui. Joe Szekeres Sarah Orenstein’s extensive and impressive resume caught my attention. I saw her work in ‘Oslo’ and a simply fine production of one of my favourite scripts ‘God of Carnage’ through the Mirvish series – a fascinating play with tremendously talented artists who soared that performance high. We shared some good laughs while I listened to Sarah’s at times candid and frank responses. Born in Halifax into a well-known local arts family, her mother an actress, father a visual artist, Sarah began her own professional career at five years old. She is a familiar face on stages across Canada. She studied at the Vancouver Playhouse Acting School. By email, Sarah stated it was a “fantastic institution. Short lived, but amazing group of artists came out of it.” Veteran of The Shaw Festival (13 seasons) and The Stratford Festival (6 seasons), Sarah has starred in ‘Possible World’, ‘Heartbreak House’, ‘The Millionairess’, ‘Shakespeare in Love’, and ‘Playboy of the Western World’. She makes frequent appearances on Toronto stages, most recently in ‘The Normal Heart’ (Studio 180 /Mirvish) ‘The Message’ (Tarragon). She is thrice nominated for Dora Mavor Moore awards for her work in ‘The Retreat’, ‘The Hope Slide’ and ‘The Collected Works of Billy the Kid’ and won for her roles in ‘Patience’, ‘After Akhmatova’ and ‘Scorched’. She won the Capitol Theatre Award for ‘The Doll's House’. Other favorites are ‘My Name is Asher Lev’(HGJT) and ‘The Glass Menagerie’ (Grand Theatre, London, Ontario) Sarah is committed to development of new Canadian works over the decades and giving her time as script dramaturg and actor in writing workshops in Vancouver, Banff, and Toronto. Recently, Sarah starred in the independent feature film ‘Albatross’ and co-stars in Incendo's ‘You May Kiss the Bridesmaid’. She is currently filming Paramount's ‘Station Eleven’. She makes her home in Toronto with her husband, actor Ric Waugh. We conducted our interview via Zoom. Thank you for adding your voice to the discussion, Sarah: It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level. I would say utterly. Not to be overly dramatic, but my new mantra is ‘I don’t actually know anything about anything anymore’. I used to think I knew things, and I don’t know anything about anything. I grew up in the theatre (my first gig was at Halifax’s Neptune when I was five). I grew up in a family that worked in the theatre so it’s where I went after school instead of babysitters and waited for my mother if she was at a rehearsal before we went home. I’ve been lucky enough that I’ve worked in theatre all my life. I think this is the longest time (aside from finishing grade school) that I’ve been not involved in a production of some sort at same level. I only took a year out when I had my children, and this pandemic has made things longer. So, it’s a bit like walking around in an alien world. I don’t understand myself without that. It’s been a time of huge reflection, some days great and some days not, sometimes I’m quite philosophical about it but it is a little bit of going, “Well, who is Sarah when she’s not in the theatre?” I don’t have an answer for that yet. I was going so full tilt with a very heavy schedule, not just acting but doing some assistant directing and script work that it really took a while to realize that I felt quite lost. Now that doesn’t mean I don’t love my life and my family and there’s always stuff as I keep very, very busy. Personally, it has been incredibly challenging to re-define myself, I suppose. That’s the long answer. (and Sarah and I share a good laugh) I’ve been very lucky as I’ve also been doing some filming so it’s not that I’ve been without work. 98% of my work is in theatre. I’ve quite enjoyed the filming and I’ve been involved with some Zoom readings and some Zoom script work. Every time I do it, I enjoy the connection, but it doesn’t replace it. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? I will say I feel it is yet to be revealed. Truly. I know absolutely that theatre will come back. It’s just who we are as human creatures – we need it. It’s how we tell stories and we’ve always done it in some version, and we always will. Theatre can’t be replaced digitally because it is a very different experience for the audience, and what society and humans get from going to the theatre with that hope of being transformed and carrying away, in the best cases, we’ve placed a little flame or little idea in everybody who has agreed to come together to be transformed. And then you take it away and people process it as they do, sometimes immediately, sometimes it takes years, and we still say that story stays with us. Why does it? In that sense, I do know that theatre will always be. But because of the shuttering stoppage, it’s like stopping an ocean liner in the middle of the ocean, that start up is going to be a little messy. I don’t think everyone will come back. Some people will do it of their own choice, some will not. Some theatres won’t be able to come back. I worry about some of the smaller theatres, but I hope they do. There will probably be a few lean years in the start up again. But my hopeful side is that change is in the air. Change is always good; it is also very scary. The particularities of that change, I think we can guess that some of them will lie in the opening of walls which is always good for art, inclusionary practices but not just with the faces on the stage but right up to the administration. I think some of that was starting before the pandemic hit, but it’s really sharpened the pencil on that. All of the arts, including theatre, love to be on the van guard of society must change so, goddamn it, so are we. I imagine there will be some missteps and some mistakes in moving forward, but I think in the end it will give us a lot more richness but there’s certainly going to be some rough times in getting everything up. I’ve been lucky enough, and I don’t mean decision wise, but to be involved in a lot of the conversations towards what Stratford is doing. I imagine all theatre people everywhere who are responsible to keep the institutions going, when I hear how exhausted they are by how many white boards they have made, erased them, started again, and erased again, and wiped and redone. The spirit is very alive to open the arms of theatre to all of the social changes that must be addressed but also with that desperate awareness of how hard it is to pay the bills on a theatre. I am full of hope. When everything is up and running, I know in the theatre we will have some rough times. I think it’s a brave act of hope with every shortened production, smaller casts, being outside. A brave act of hope. As a professional artist, what are you missing the most about the live theatre industry? Every single part of it because I’ve been around it so much all of my life. I miss the buildings. Of course, I miss the people. I miss the rhythms of rehearsal, that’s my calendar usually. I miss the collaborative and the collective way of living because every single show has its own set of problems that you come together to solve to tell the story, whether full production or just a reading. When I think of it, I truly miss everything, I miss sitting inside empty auditoriums before everything is happening. And why is that? I think it harkens back to when I was a kid and wait for my mom to be done work, and I’d sit at the back waiting, and there’s a certain sound and a certain air, a theatre that’s not ready for the public yet. I miss the tannoy being turned on and hearing the audience talking and mumbling. As a professional artist, what is the one thing you will never take for granted again in the live theatre industry when you return to it? I think it will be how much I need other people to tap into my own creativity. I suspected it, but I didn’t realize how deep that symbiotic relationship was. Describe one element you hope has changed concerning the live theatre industry. So much has been happening with change right now over this last year. This has been part of my awareness since I was young because I am a woman in the industry. And I’m not even going to say that I’ve been particularly or poorly treated in a certain kind of instance, but I’m always looking for and hoping for more women in directing and, therefore, that leads to artistic directorship, not as a replacement but it’s not equitable, and there are very different stories that will come out. I’ve joked with my very dear, dear friend David Fox (he’s older than me) that over our careers of working together that I’ve played his daughter. I’ve moved on to play his wife. We keep pretending if I’m ever going to play his mother. It has something to do with the seven ages of women are yet to be truly explored. I don’t want to discount some of the roles that are out there for women because it is part of society, but they start tapering off because you can’t be the love interest. More women in writing, directing, and at the artistic directorship level, please, so that we can explore the female stories later in life without it just being Grandma making something in the kitchen. Explain what specifically you believe you must still accomplish within the industry. That is the hardest question you gave me to think about before our conversation today. The flip thing is I wouldn’t mind a fantastic run in a show that I’m a lead in that’s an amazing Tony award winning, writing piece of Broadway or the West End. That would be nice (and Sarah makes this wide grin that makes me laugh) On a serious note, I just want to work for as long as I want to work AND as late in life as I want to work. Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as a theatre goer yourself. I will elaborate. I do not think this will happen. (and Sarah emphasizes each of these words) I don’t, at least I hope it won’t. We are so tired of it all. Everybody’s home is a 12 act play on experiencing Covid personally. It’s not to ignore it, but personally I would not be rushing to theatre to see shows that I know are someone working through how they lived through Covid. That being said, I think it is undeniably part of the fabric of any story that is written from here on. I don’t think we need to shoehorn it into every re-staging of ‘Taming of the Shrew’ or something. I think anything written from now on, even if it’s not a central theme, it will have to refer to that time, or where you were, or what happened to you, or what crazy psychological thing that character is wandering around, in the same way that wars have done that or political movement or any kind of trauma. A lot of people are getting through this pretty good. Depends on who you talk to. Some are messed up, some aren’t. We also recognize how lucky we are if we’re able to hold on to your stuff and not have to sell anything and figure something out. In the best case, this time of Covid will become fodder for good writers to find another universality for us as humans. If a writer gets the right idea of what Covid and the pandemic shutdown, loss and the mismanagement and what it has done to society, that kind of theme if it finds it way into some real psychological drama, that would be interesting to see. I want to stop talking about Covid when this is all over. As an artist, what specifically is it about your work that you want future audiences to remember about you? Oh, you’re wicked…. (and we share a good laugh again) Let’s hope they find my work fahhhhhhbbbbuuuullloouussss. (and another good laugh) Okay, if I’m going to be good and serious, I would say I hope that the people, because I do a lot of mentoring and coaching, I’ve worked with whether they’re actors or from other departments of the theatre, remember me as someone who delved deep into the work with them, but also helped pass on the trade. I really believe in that. I come from a family of creatives and different aspects. One of my sisters is in textiles, costumes, and designs. We talk about we find it interesting that we are at the point of our careers where we are really passing on the trade, without formally teaching in a classroom which is also good. Acting is a trade. The best way to teach someone is to do it in front of them and have a little conversation about why that is tricky over there. I’d like to be remembered that way by my fellow workers. I just hope audiences, even if it’s not remembering me, I hope my work resonated enough that they remember a moment on stage, a scene, a play. (I can attest at this point Sarah is correct as ‘God of Carnage’ at the Panasonic Theatre was astoundingly good.) Previous Next

A talk with a professional artist about their career. Back Cliff Cardinal "Artists have the right to say what they want, but great artists take responsibility for what the audience hears." Courtesy of Cliff Cardinal Joe Szekeres Born on the Pine Ridge Indian Reservation, Cliff Cardinal has been called controversially subversive and a cultural provocateur. He has studied playwriting at Montréal’s National Theatre School. His website (cliffcardinal.com) also calls him a polarizing writer known for his black humour and compassionate poeticism. He doesn’t seem bothered by these labels and calls them lovely. Cliff grew up as a punk rocker and played in punk bands. He loved George Carlin and Richard Pryor. Cliff doesn’t live in the mainstream of society. He says he still has this outsider perspective, and that happens whether he goes to the rez, the suburbs of the city or travelling. He’s always the outsider perspective, which is natural to him. Where Cliff comes from, this is what he talks about within his family. He doesn’t consider this controversial at all. We chatted via Zoom recently just before his show ‘(Everyone I Love Has) A Terrible Fate (Befall Them)’ opened at VideoCabaret on 10 Busy Street, Toronto—more about the show shortly. Who encouraged and influenced Cliff to continue in the industry. He said candidly: “Everyone who doubted and tried to stop me and withhold resources…and everyone who said I wasn’t good enough. I truly could not be here without all of you.” I couldn’t help but burst into instantaneous laughter. Cliff had this sly grin and relished the opportunity for me to laugh with him. He grew up the son of actress Tantoo Cardinal CM. When he dropped out of high school, he showed up at the back of a theatre company, just ‘shut up,’ and listened at this theatre for his Grade 10 year. He spoke fondly of his mentors Layne Coleman, Michael Hollingsworth and his partner, the late Deanne Taylor. The latter two co-founded Toronto’s VideoCabaret, integrating videotape, music, and theatre. He also spoke dearly of his director of ‘A Terrible Fate’ Karin Randoja. Cliff smiled and said they had been co-parents of all these shows they’d done together. She’s taught him a lot already, has come through, and is sometimes one step ahead of him. For Cliff, Randoja understands the craft of theatre in a way he doesn’t. I was first introduced to Cliff’s artistic work in his two one-person solo productions of ‘The Land Acknowledgement’ at Toronto’s Crow’s Theatre and later at Mirvish Productions. The former production created a wave of controversy within the theatre community. The latter was an entirely different iteration but still used the exact text. I wanted to explore this understanding of controversy within the theatre industry further and asked how far an artist can push the envelope regarding being controversial. Cliff resolutely stated theatre doesn’t work as propaganda. If this is the objective for the artist, then he/she/they has/have the wrong medium. He elaborated further: “A theatre artist’s job is to be entertaining, exciting, dazzling, and marvellous and to present both sides of the argument. The theatre is an industry where we have a lot of people in the seventies show up. These people have read a lot more than I have.” The idea that Cliff will teach someone in their 70s something or bring them around to his politics is naïve. How far can a theatre artist go for Cliff, then? “It all depends on the artist's relationship with the audience and how many times they have given the performance. You have to really try and listen as you have these ideas you fight for. Are they making the jump with me? Can they still suspend disbelief and project their imagination onto this moment, or have they checked out? Do they hate what’s happened to them?” For Cliff, artists have the right to say what they want, but great artists take responsibility for what the audience hears. I attended the opening night performance of ‘A Terrible Fate.’ When I asked him how he felt about opening night, Cliff said he had no idea what they all did. He knows opening night occurred but can barely remember it. He calls ‘A Terrible Fate’ a compelling exploration of being the guy in this position and asking Robert to inhabit him in this solo piece. To go on this journey and explore it is an exhilarating opportunity. Cardinal has unending praise for VideoCabaret and Crow’s Theatre, the two companies that have produced ‘A Terrible Fate.’ He further adds: “I’m just trying to soak up, be inquisitive and be curious about what is there. Maybe at the end of November, I’ll stop and ask, ‘What the fuck was that?” And again, I’m laughing at his frankness. Ironically, he and Jenn Stobart, the show's Stage Manager, were in Perth and just started talking about how everyone they have loved who had a terrible fate befall them. Thus the genesis of 'A Terrible Fate' was conceived. Cliff writes daily and said, “As soon as I tell you I love you, watch out because you’ll get sick, get hit by a car, or an anvil will fall from the sky and land on you. Watch out.” What Cardinal finds intriguing is the redundancy, the idea he is presenting himself as this traumatized guy. Yes, Robert’s trauma occurs quicker than others, but that is the story of all of us. Cliff calls ‘A Terrible Fate’ a satire and magical realism but also a redundancy. He’s hoping that he can use the comedy to step outside of ourselves and look back at how we’re dealing with the worst fundamental truth, which is that this will end for all of us. I love the candidness in that last line because it’s true. And again, I started laughing, and Cardinal was smiling. He said: “See, you and I are laughing, so it’s all going well.” What messages is he hoping audiences will take away from the play: “We should be holding onto each other. We should be coming together. We should be more honest. We’re not good at grieving about those we have loved and lost in this culture. Great stories shouldn’t silence the room. Great stories should provoke us to tell stories to others. If that doesn’t happen, I hope audiences will leave having enjoyed a few laughs and a good time and purchase some artwork in the lobby.” In true artist style, Cliff also added: “I hope people are offended, and those who want to be offended are. Those who need to be triggered, come on down and get triggered.” It’s not Cliff’s way to conduct audience talkbacks, so don’t expect there will be one after the performance. There’s something about audience talkbacks that doesn’t feel right. He’s hoping ‘A Terrible Fate’ will tour other Canadian cities after the VideoCabaret run. It depends on how the show will develop from its incubation at 10 Busy Street. And what’s next once ‘A Terrible Fate’ concludes at VideoCabaret? A movie adaptation will be made of his ‘As You Like It’ by William Shakespeare. He’s a tad coy about sharing anything else regarding the film now, except that he is working on it with his friend, Daniel McIvor. This film adaptation is one to keep an eye on in the future. ‘Everyone I Love Has’ A Terrible Fate (Befall Them),’ produced by VideoCabaret in association with Crow’s Theatre at the Deanne Taylor Theatre runs to November 12 at VideoCabaret, 10 Busy Street. I hear tickets are selling very quickly for the remaining shows. Visit crowstheatre.com for further information. Previous Next

A talk with a professional artist about their career. Back Mitchell Marcus Moving Forward Dahlia Katz Joe Szekeres Just hearing about all the accomplishments of Mitchell Marcus within the professional performing arts community makes him a mover, shaker and leader within the theatre industry. Recently named to Canada’s Top 40 Under 40 (2019), he is the founder and Artistic & Managing Director of The Musical Stage Company – Canada’s leading and largest not-for-profit musical theatre company. Over sixteen years, The Musical Stage Company (previously Acting Up Stage Company) productions have been recognized with 105 Dora Award nominations, 23 Dora Awards and 19 Toronto Theatre Critics’ Awards and programming partnerships have been built with Mirvish, the Elgin Winter Garden Theatre Centre, Canadian Stage, AGO, TIFF, Massey Hall, Obsidian Theatre Company, and the Regent Park School of Music amongst others. Outside of The Musical Stage Company, Mitchell was the Associate Producer for the inaugural six years of Luminato, producing over 100 productions for one-million attendees annually. Mitchell has twice been the Creative Producer for the Hilary Weston Writers’ Trust Prize as well as the producer of the Dora Awards. He organized four years of It’s Always Something, working with a team that raised over $500,000 annually for Gilda’s Club Greater Toronto. He is active on committees that service the arts community, serves as an advisor to the Metcalf Foundation for its Creative Strategies Incubator program, a member of Sheridan College’s Performing Arts Committee, a member of the Dora Eligibility Committee, and a member of the Advisory Committee of the Canadian Musical Theatre Writers Collective. Mitchell has held positions in the arts management departments at UofT and Ryerson University. Mitchell is the recipient of the 2017 The Leonard McHardy and John Harvey Award for Outstanding Leadership in Administration, a Harold Award, and was a finalist for the 2018 Roy Thomson Hall Award from the Toronto Arts Foundation recognizing contributions to Toronto’s musical life. I am grateful and thankful he took the time to participate in the conversation via email: 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? Without discounting all the sadness of illness, destruction, injustice and loss, I have loved watching and participating in a global demonstration of resilience. There are, of course, so many things we are no longer able to do, but it’s been astonishing how quickly we can pivot as a species, adjusting to working-from-home, moving our lifestyles to the beauty of our outdoors, and adapting our thirst for global adventure into one more local. More importantly than the resiliency and speed of adaptation, I’ve loved seeing how many of us have found silver linings in this new routine which has forced us to challenge our expectations of what we thought life would bring and return to a simpler, more true sense of self and aspiration. In that regard, while I am certainly feeling scared about the increase in COVID-cases and frustrated by the barrage of human injustice that makes headlines every day, I am actually feeling quite optimistic and content. It’s fascinating to witness a historic moment of change like the one we are in. And I’m hopeful that what we are learning and reflecting upon during this time is going to lead to something very special on the other end. Look at how much we are accomplishing and look how much change feels within reach. If we can do that during social distancing, imagine what we are capable of once we have the freedom of movement and connection once again. How have you been faring? How has your immediate family been doing during these last six months? I’m very proud of how my family has navigated this time so far. We’ve really stayed optimistic and made the most of each day: I absolutely loved being a part of my kids’ education during the Spring in a hands-on way; We used money from cancelled vacations to rent a farm near Orangeville for a month in July and organized family colour-war events and daily swim lessons; It’s the first time in my life that I have been home every night of the week for dinner and been able to tuck my kids into bed; And each weekend is now filled with lots of hiking and bike riding. I don’t mean to be painting an overly rosy picture – there have been many nights of deep worry and anxiety. But there has also been much joy in togetherness. Personally, I’ve been digging more into mindfulness during this time. I’ve been practicing meditation for nearly four years, but it’s gone into overdrive over the last six months. My nightstand is stacked to the ceiling with books on anti-racism and books on mindfulness/spirituality. I’ve loved getting to learn new things and to dive deep into the philosophical exploration of imagining what the universe is telling us in this moment and how to apply it to my life. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? The most difficult part of the last six months has been mourning the loss of live theatre and recognizing the immensely devastating impact it is having on independent artists. I feel enormously grateful and also enormously guilty for having a full-time job in the arts. I am deeply thankful for the existence of CERB and relieved that it will be extended in some form. Our team is doing everything we can think of to keep work flowing and money going out the door. But it’s very heavy to realize how many people in our industry, in our community, are struggling. At the end of the day, I often have to shut off all technology and curl up with one of those mindfulness books and a glass of wine and retreat into my own Zen place. But I also recognize the luxury of being able to shut out the pandemic and the privilege I’ve been afforded when doing so. The biggest challenge has been trying to stay in the present and not plan into the future. I am a planner by nature and my skill as a leader has been to keep our focus on multi-year strategic initiatives that make change. But it’s impossible to plan for a future we don’t yet understand. So I’ve had to work really, really hard to not get too far ahead and keep all of us at The Musical Stage Company focused on how we want to respond to the challenges and needs of today, abandoning past plans and paths that no longer feel relevant, and avoiding drawing too many conclusions for the future before we have a full understanding of what future we are planning for. But as someone who always likes to have the answer immediately, it’s been a real exercise in patience. 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? When we shut down, we were a few weeks away from the world premiere of KELLY v. KELLY by Britta Johnson and Sara Farb. We’ve been working with Britta and Sara since 2014 and we’ve been deep in development for KELLY v. KELLY for a couple of years, so this was a particularly painful project to not see materialize. It was also going to be SO good. I’m rarely confident about a production – especially a new work – but this show was in such great shape with a team that was firing on all cylinders. We also lost major milestones this season including UNCOVERED: DOLLY & ELVIS which was to play Koerner Hall in November, and the Canadian premiere of NATASHA, PIERRE & THE GREAT COMET OF 1812 that was to open at the Winter Garden Theatre in January. Without question, KELLY v. KELLY will see the light of day as soon as it is safe to do so. Thankfully we were able to postpone before we had spent too much of the money earmarked for the project. We put all the funding for it aside, not to be touched until it can be revived. So, it’s in the uniquely positive position of being ready for production with the funding to get it there. We’ll have to see about everything else. More than ever it’s important to me that the stories we tell are relevant and resonant for the moment in which they are being shared. The projects that were the right “why-this-project-why-now” in the old world may not be the right projects in the one that awaits us. That’s the funny thing about programming – you are often responding to an indescribable energy in the zeitgeist. If we want theatre to matter when we return, we need to make sure not to cling to what was and be hyper aware of what people need on the other side. Having said that, our commitment to new Canadian musicals is unwavering. We have run 17 workshops for new musicals since COVID hit and have no intention of slowing down. That is the joy of new material. The writers are naturally infusing today’s emotions and thoughts into the works. They are living, breathing stories being developed during a global pandemic. So even though none of them are about living during or after COVID-19, their ongoing evolution will ensure that they are necessary and healing in the world that awaits us. What have you been doing to keep yourself busy during this time? Working and raising kids! Honestly, it fills my days completely. Work has not really gotten much quieter even though we aren’t in production (turns out navigating global pandemic is more work than producing theatre). We produced 80 concerts this summer, we are in production for an UNCOVERED film, we are running workshops, our youth programs are going national, etc. By the time I’ve completed a day of Zoom meetings, cleared an inbox of emails, and spent some time with my kids, I’m ready for bed. But the weekends have been quieter than normal. There are no readings to attend or shows to see. And my kids’ programs have all shut down. So, I’ve loved the pace of my weekends. We’ve just been outdoors as much as possible, biking, hiking, and camping. 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? Here’s two of my favourite quotes from Pema Chödrön: “When there’s a big disappointment, we don’t know if that’s the end of the story. It may be just the beginning of a great adventure.” And “Rather than realizing that it takes death for there to be birth, we just fight against the fear of death.” I don’t mean to be cliché, answering your question with inspiring quotes, but I really believe this is the only way forward. Something has died. We have to take the time and space to grieve it. But we also have to open ourselves to the exciting possibility of reinvention and rebirth that comes after an ending. In that regard, I guess my advice for recent grads is to recognize that this death has levelled the playing field. None of us know the way forward, and the most senior arts leader doesn’t have any better strategies for the future than a recent theatre grad (who may in fact have more objectivity on what could be possible). We are all now pioneers building a more equitable, more sustainable, more relevant theatre. Seize this once in a lifetime chance to be a part of the rebirth by charting your own course and helping to mould the industry that awaits you. Do you see anything positive stemming from Covid 19? I think it has taught us to slow down. I think it has taught us not to take simple connection for granted. I think it has removed some of the allure of ruthless ambition and replaced it with a focus on empathy and equity. I hope these lessons stay with us. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? It absolutely will. Hopefully COVID itself will succumb to a vaccine and we won’t have to have the distancing and health measures in our lives forever. But I hope we will forever be impacted by what this time has taught us about equity and treatment of people. And I hope that audiences are so hungry to gather together again that they race to the theatre in unprecedented numbers! 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? For me, producing theatre has always been about serving and enriching an audience. It is about giving a willing group of people something that their souls needed that they didn’t realize was needed. Ultimately, the medium doesn’t matter as much as the power of the message and the unbridled attention of an audience. If this exchange is happening successfully on YouTube and via online streaming sites, may it live forever! I am skeptical however about how well this is working. There is a sense of ceremony when we gather in person and devote our entire energy to a story. I fear that we haven’t yet figured out how to permeate the digital fourth wall in the same way to achieve the same outcome. But this is definitely the ‘trial and error’ phase. I have no doubt that artists will successfully navigate this new medium and make it into a powerful mode of soul nourishment. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you? My heart knows the power of hearing the exact right piece of music to capture a moment or emotion. It is like nothing else. And no pandemic can keep that magical experience from happening each time I witness it in a theatre, outdoors, or online. It will withstand the test of time. You can follow Mitchell on his social media handles: @mitchellmarcus and at Musical Stage Company: @musicalstagecom. Previous Next

A talk with a professional artist about their career. Back Joelle Peters “It’s like Everything Everywhere All At Once: Theatre Version” Courtesy of Native Earth Performing Arts Joe Szekeres Early in the pandemic, I spoke with artist Joelle Peters when I was still writing for OnStage Blog about how she was faring in 2020 when we all wondered what was to become of the state of the performing arts. Like all of us, she felt this need for connection through one of the darkest moments that each of us has experienced. You can read Peters’ first profile here: https://www.onstageblog.com/profiles/2021/2/1/theatre-conversation-in-a-covid-world-with-joelle-peters Fast forward three years and Joelle Peters is now one very busy individual who has established many connections since 2020. You can read about her background and training on the Native Earth Performing Arts website: www.nativeearth.ca . She’s excited yet quite overwhelmed about the return to live theatre even though we are still in Covid’s embrace. In her words: “It’s like Everything Everywhere All At Once: Theatre Version” What has changed for Joelle since 2020? She is the Interim Artistic Director for Native Earth Performing Arts making bigger decisions than she was previously. With all this change and adjustment in her career, she’s trying her best not to burn out and also find some time to enjoy the opportunities coming up. One of these opportunities is her script 'Niizh' which opens at the Aki Studio this week. ‘Niizh’ is a coming-of-age comedy. Set on a reserve in Southwestern Ontario, the play follows the youngest of the ‘Little’ family, Lenna Little, who prepares to leave home for the first time. Amid this, she meets Sam Thomas, who has returned to the reserve after many years away. ‘Niizh’ and Joelle have been on quite a journey with a lot of support. The play began its germination at the Paprika Festival to Native Earth’s Animikiig Creator’s Unit, to the Indigenous Playwright’s Nest at the Banff Centre, a commission from the Blyth Festival and back to Native Earth for a sound workshop. Through the pandemic, a lot of work that went into the script midway, and later in the process, was done online. She felt this was probably the biggest challenge because ‘Niizh’ is a comedy with bits of movement and tons of props. If something landed weird or awkward in a Zoom reading automatically made Joelle feel she might have been a bad playwright and if the script would be ready for an audience. But thanks to what Joelle calls ‘wonderful’ actors in the rehearsal hall, ‘Niizh’ persevered. The response of the first-read audience was so warm and a huge sigh of relief for her and the story. What messages does she hope audiences will take away from ‘Niizh’?: “I’d like the play to remind audiences that it’s okay not to have everything figured out as we are all on our own journey. We can put some big expectations and be kind of hard on ourselves, but it doesn’t have to be that way! “ ‘Niizh’ has been a big reminder for Joelle of how intense those feelings were as a young adult - getting ready to go off to college, and how big the world felt at the time. Anything was possible back then. It was all new, scary, and exciting. I concluded our email conversation on what’s next for Joelle once ‘Niizh’ completes its run at Aki Studio. She will be off to shoot a television commitment and then will jump back into some Artistic Director responsibilities for Native Earth. And after that, she’s off to make her Stratford Festival debut in ‘Women of the Fur Trade’. Joelle knows she has a fair amount of juggling artistic responsibilities, but this is the work that she is most excited about. For her, that’s one of the most important goals of life in the theatre. To learn more about Native Earth Performing Arts and to purchase tickets online for ‘Niizh’ visit: www.nativeearth.ca . Previous Next

A talk with a professional artist about their career. Back Mike Nadajewski Looking Ahead (courtesy of The Shaw Festival) Joe Szekeres Mike Nadajewski’s work has been extensive in the Canadian theatre cannon, and I’ve been pleased to have seen his work in the Stratford production of ‘Jesus Christ, Superstar’ before it transferred to Broadway. Other memorable roles include ‘A Funny Thing Happened on the Way to the Forum’ at the Ed Mirvish Theatre and ‘Harvest Moon Rising’ (Talk is Free Theatre, Barrie, Ontario). Recently, I saw Mike read the role of Nick in ‘The Great Gatsby’ for Talk Is Free’s Theatre Dinner A La Art. I’ve always liked the Gatsby story and hearing it read made me hopeful that a play may be in the works sometime in the future. This summer, Mike will appear at the Shaw Festival. He speaks about his roles in one of his responses below. You will see Mike’s wit clearly in some of his responses below. To me, it appears Mike is the kind of guy who would be willing to say, “Let’s go for a beer.” We conducted our conversation via email as Mike is in the midst of rehearsals right now for Shaw. I do hope I get the chance to speak to him in person soon to say hello to him. Thank you for participating and for adding your voice to the series, Mike: 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. Well. First, I love these softball questions, Joe – nice n’ easy (!!!) What ever happened to, “How do you learn all those lines?” But seriously folks… Everything I say will be an understatement, no doubt, and my colleagues have spoken far more eloquently in your column than I can. (And now that I’ve hopefully lowered your expectations, buckle up for what can only be described as some primo insight.) When we were in the first months of this pandemic, I remember thinking how acutely I felt the loss of being able to gather. (See? Understatement.) I have the benefit of living with my family – a completely different experience from those who had to endure quarantine in isolation – and I still was completely blindsided by the realization of how deep this primal-gathering- need goes. The loss felt was grief, of course. We are hardwired to gather together and share ... something! Whether it’s art, food, religion, sports – we want to do it together and experience it together. What about those introverts, though? Well, I know a few of those (I’m also married to one!), and a lot of them got pretty tired of people saying to them: “Well, you’re probably fine with this, aren’t you?” Yes, at first, they were fine, but it wasn’t long before they weren’t, because once the choice of ‘going to that opening-night party or not’, or ‘grabbing that drink with colleagues or not’ is taken away from you, the power of choosing not to be social, so you can claim regenerative time for yourself, evaporates. I’m certainly not the first person to equate the gathering restrictions with feelings of grief. I often think, when it comes to any part of our quirky, uniquely contradictory and baffling array of human traits, “What’s the primal application here?” What purpose did grief serve our Cave-B&B ancestors when grief has the potential to shut you down completely? Of course, the other side of the grief-coin is love and attachment. I had never given much thought about the love and attachment I had for, well, just people. My fellow humans! And certainly not in this ultra-specific way. I’m already an empathetic sort. I’m an actor and I people-watch, and of course (on the inside), I watch myself interacting with people while I people-watch, and I’m kind of always taking notes on behaviour. And we all know what isolation does to people – it’s a form of torture and punishment in prisons, after all – so, within this context, I’ve been asking myself, “If contact is denied, is it an affront on our capacity for love?” Most of us have felt grief and heartache after a break-up with a partner, and when your heart is broken you grieve, and you’re generally not very interested in seeking out love again for a while. The COVID crisis has had kind of a similar effect on me. A kind of erosion has taken place. I remember last year being quite keen to gather as soon as possible. But over time, that keenness has been chipped away. This paralyzing, surgically precise attack on our second nature of passing touches, handshakes, hugs, and proximity, has slowly and rather insidiously eroded my desire to want to interact with people. Again, I have my family at home, and we get a lot of what we need from one another. In many ways – and please know I say this knowing that this has not been everyone’s experience – we have been incredibly grateful for this time as a family. But in other ways, it has turned me inward. I know we’ve all experienced this fatigue to some degree. I shudder to think of how our kids will be affected in the long run. I’ve got one of those (kids, I mean), and I think/hope mine will be alright – but what about the little-ones who are in their formative social-skill-building years? When it’s safe again to do so, it’s going to take time, along with some conscious effort, to find my way back to wanting interaction, even though I know I need it. With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception as a professional artist of the live theatre industry been altered and changed? My understanding and perception actually haven’t changed much, I’d say. Art finds a way. I’ve always known it could do this, but to actually witness and participate in this phenomenon has been pretty incredible. Artists will always find a way to make their art. I still think being able to congregate with a live audience and share stories together is an essential human experience and it’s not going away anytime soon (theatre has been dying for 4,000 years, after all). It wouldn’t be hyperbolic to say that our very humanity is centred around story-telling. Isn’t it funny that our TV’s are always desperately trying to evolve to become more and more “life like”? Higher definition, 4K, 8K, 12K, HDR, 3D, 50”, 75”, 85” screen sizes – this is technology jockeying to essentially replicate an immersive live experience. That’s not to say I don’t love story-telling in all mediums – film, television, video games, etc., but ultimately, at least for me, these are all placeholders for the real thing. What’s better than hearing your favourite band on your speakers or headphones? Seeing them LIVE! What’s better than seeing your favourite actor on screen? Seeing them LIVE! It feels as though LIVE shared experiences do something to us at the cellular level – or something. I don’t know! Dammit, Joe, I’m an actor not a …! By the way, have you noticed that everyone is obsessed with the arts? I’m not sure the greater population truly understands (which means our leaders probably don't understand) how artists touch everyday lives. All people want to do with their leisure time is read a book (written by an artist), listen to music (written by an artist), see a play (written and performed by artists), watch a film (created by artists), look at photographs (taken by artists), look at paintings (created by artists), read magazines (about artists) … this list is infinite. Art is how we survived lockdown! If I may indulge in a sweepingly general “our society” rant: Our society discourages, mocks, and dismisses its artists – these aggressions are received directly, indirectly, and systemically as well (you need to look no further than how the provincial government has abandoned the LIVE sector with confusing and unspecific guidelines for reopening). We even doubt our own worth: artists frequently discourage the next generation, telling them to, “Do anything else if you can”. I know this impulse comes from a good place, trying to give an honest reality check with statements like: “As an artist you will be underpaid, unappreciated, deemed expendable, a dime-a-dozen, seen as a free-loader, endure volatile income, it will be difficult to get a mortgage, better to have something to fall back on,” and so forth. I’ve heard them all. I’ll never forget the actor that came to my high school on Career Day. She basically said, “Don’t do it,” and that she was leaving the business. It was … really super inspiring (Can you see my eyes rolling? No? Cool.). But it’s not our fault that we feel devalued and feel the need to play the role of Dream Crusher to those hoping to make their way as artists. We need governments who understand the fundamental role artists play in our society. We need to seed long-term value in the arts. We need to foster the next generation of diverse artists from birth by funding access to the arts in all schools, including lower-income and diverse neighbourhoods. How about government funding for our major arts institutions that is on par with the support other arts organizations enjoy all over the world? I’m tired of artists needing to constantly shout from the hilltops, “ARTISTS ARE ESSENTIAL!” If you want a healthy, functioning, thriving society, ARTISTS ARE ESSENTIAL. Preaching to the choir here, I’m sure. As a professional artist, what are you missing the most about the live theatre industry? I miss the spontaneity of art popping up where you least expect it: a reading at someone’s house because they’ve just finished their play and need to hear it read out loud; a coffee concert, a grassroots project some folks are just throwing together, catching that show that’s only open for a weekend, an exhibit at that gallery. You know – Living Art. 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? Well, I’m lucky. I have already returned to theatre with outdoor rehearsals for Charley’s Aunt and Sherlock Holmes and the Raven’s Curse c/o the Shaw Festival in Niagara-on-the-Lake, Ontario. It is a well-known fact, but always bears repeating, that the Shaw Festival's handling of the crisis last year under the leadership of Tim Carroll and Tim Jennings (and the remarkable team behind them) was absolutely LEGEND – they managed to keep all of their artists employed throughout the entire summer by creating the Education and Community Outreach Specialists (ECOS) program. Many have also benefited from the mastermind running Talk Is Free Theatre (in Barrie, Ontario), Artistic Producer Arkady Spivak, who kept artists working throughout the winter months with a variety of innovative online projects. But to answer your question, what will I never take for granted? ‘Leaders who value artists.’ Describe one element you hope has changed concerning the live theatre industry. I feel like just before the pandemic hit we were beginning to see a shift in the culture with regards to providing theatre artists with a better work/life balance. I first began to see the change with Talk Is Free Theatre’s shorter rehearsal days and two-day weekends (a weekend!? — *gasp* — just like a real person!), as well as supporting artists with families by supplementing child-care costs, among other ground-breaking initiatives. I’ve noticed the Shaw Festival has endeavoured to give ensemble members a two-day weekend during rehearsals whenever possible, which is a terribly difficult thing to do, given how complex The Shaw’s repertory schedule is. It’s also worth mentioning that The Shaw has occasionally made allowances for artists to “call out” of a show to attend a loved one’s wedding (this was unheard of in the non-profit theatre world not too long ago!), as well as being able to attend funerals for people not directly connected to the artist’s immediate family (all of this with the caveat of having a rehearsed understudy, of course). I hope this trend continues – this holistic approach will only benefit the art in the long run. Explain what specifically you believe you must still accomplish within the industry. What I must still accomplish? Well, before I can answer that, I first need to acknowledge my position of privilege. Talking about this is tricky – I’m not looking to explain away my ‘benefitting from being a white dude in the arts’ by just saying I’m aware of it (this is one of the many, MANY reasons why I keep off social media, because saying anything like this can often be interpreted as virtue signaling and performative – but here I go.) I’m a white dude in the arts. I’ve worked at Canada’s major theatre festivals for the majority of my career. And yes, work ethic, yes, talent, yes, handsome … (Anyone? Anyone? No? Cool.) … yes, drive, yes, yes, yes – but I still have to acknowledge the fact that I will never fully understand the degree to which white privilege has played a role in my success in this industry because it’s so deeply baked into the DNA of everything I touch! Learning that I’ve been unknowingly complicit in upholding systemic biases by merely participating in this industry is mind blowing – another devastating realization afforded by this pandemic. But I own a home. I have a family. I live in a safe neighbourhood. I often have work to look forward to. I can even look back to my early beginnings in high school when I was first cast as the Emcee in Cabaret – I remember being told I looked like Joel Grey! I looked the part. There is no denying that I am a white artist who has benefited. So, what do I need to accomplish? Well, I am not an activist, and I am not an outspoken person in the room, it’s just not my nature (if anything, I am more peacemaker than instigator), but I want to be an ally. So, I need to do my part, however small, to help facilitate the deconstruction of systemic biases that are inherent in the system. By doing what? Well, I’m not always sure. As actors, we don’t have a lot of agency, but I need to actively look for opportunities to nudge things in the right direction, including (but not limited to) recommendation requests, seeing and supporting diverse artists with my ticket purchases, educating myself, educating my son, and a healthy dose of listening. I also hope that someday I get to be in plays that tackle this issue head on. I may not have the words to express it, but I know some brilliant artists who do! Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement both as an artist in the theatre, and as an audience member observing the theatre. Isn’t it fascinating that there wasn’t a “tsunami” of stories after the last pandemic 100 years ago? I wonder if the feeling back then was, “No one wants to see or hear about that anymore!” I suppose the one big difference between then and now is, well, we have therapy. We know the value of healing through talking about things that are hard to talk about (yes, oversimplified). And truly, who could ask for a better backdrop to tell their story than this shared, visceral experience we’ve all endured together? A fascinating exploration for those on either side of the footlights! I cannot wait to hear all the unexpected stories about the times we’re living in. As an artist, what specifically is it about your work that you want future audiences remember about you? My curls. I don’t know. Who cares about me? As my friend and colleague Mike Shara says, (an actor I’ve admired greatly ever since my early days at The Shaw), “No one knows who the hell we are!” I love to make people laugh, I love to sing, and I love to act in compelling, potentially moving stories that hopefully resonate with people in profound and/or carefree ways. If I’m remembered for any those things: Aces! If not, then, sure the curls. To learn more about The Shaw Festival, visit www.shawfest.com . Facebook: @shawfestival Twitter: @ShawTheatre. Previous Next

A talk with a professional artist about their career. Back Katie Kerr and Matt Stodolak "Pursuing 'Chris, Mrs.' has been a gift; working together has been the icing on the Christmas cookie.” Pictured: Katie Kerr and Matt Stodolak Joe Szekeres A glimpse at the profile picture of this adorable-looking husband-and-wife team makes me keep humming ‘We Need a Little Christmas’ from that American chestnut of a production ‘Mame.’ They’re not staging that one, far from it. Their new all-Canadian production opens shortly, putting us all in the Christmas and holiday spirit. ‘Chris, Mrs.’ – A New Holiday Musical - has been in rehearsal since earlier in November. It’s set to run at Toronto’s Winter Garden Theatre from December 5 until December 31. The title caught my attention immediately. It’s cute in its play on words. It’s also a show the couple had written over the first Covid Christmas. Lyricist, Director, and Producer Katie Kerr holds her degree from Sheridan College. She has been active as a writer and director for many years. Composer, Music Director, and Producer Matt Stodolak holds a Master of Teaching from the University of Toronto and a Bachelor of Music from McMaster University. The two are excited to make their mark on the Canadian musical theatre scene with this premiere. It’s their first production. Kerr and Stodolak recognize that mounting any professional musical remains risky, no matter what, as many shows are now on the Toronto scene. To top it all off, there is the rush of rushing and dashing in December to get things done and ready for the Christmas/holiday season. That is precisely why Toronto theatre audiences need ‘Chris, Mrs.” Kerr and Stodolak want audiences to stop and pause first and then realize it’s okay to put the dashing around to the side for the moment. Instead, let’s just take the time to enjoy the communal spirit of the season together. What better place than the theatre? The holiday musical’s catalyst was a Hallmark love story between the two. Matt and Katie met performing ‘Elf, The Musical’ two years in a row. He was in the band playing second keys while she played Jovie. At that time, preliminary talk began between the two and continued why shows like ‘Chris, Mrs.’ are needed. It was through their initial discussions together and with other artists that the “AHA” moment came. There aren’t enough Christmas musicals to begin, never mind Canadian productions. For regional theatres, the Christmas/holiday show is the venue's opportunity to introduce audiences to the season ahead. Despite so much darkness and sadness in worldwide events, Katie and Matt wondered what type of show could be introduced to new theatregoers during the holiday season. What became apparent during the pandemic, especially over the Christmas holidays, was people wanting to stay home and watch the plethora of Hallmark Christmas movies - probably for nostalgia’s sake and to remember what the holidays meant communally for families and loved ones. Kerr further added: “We looked at that spirit, giving that sort of vibe but reinfusing it with the excitement and spectacle of live theatre. We’ve gone away from the recent trend of 6 handers and small companies to something that’s bigger, that has a lot of dance, a lot of things to look at, laugh about and feel a part of.” How will ‘Chris Mrs.’ uniquely differ from the televised Hallmark Christmas label? The most straightforward answer - It’s the live spectacle. That’s why we go to the theatre - the universal quality of communal excitement exists only at the given moment for live audiences. Watching a live Christmas production creates a sense of comfort and nostalgia. ‘Chris Mrs.’ is the perfect holiday show to share with anyone special in your life. The live bonding experience of sharing an experience like this with others will always remain unique and something that cannot be captured on film. Matt also spoke about noticing an evolutionary tradition. Yes, people stayed home to watch the annual Hallmark Christmas films. Now, it’s time to make further memories instead of staying home - go to the theatre and see ‘Chris, Mrs.’ together as a family or with loved ones. Katie also shared something she and her family have done these last few years. Giving presents to others is nice; however, instead of just giving stuff, her family now plans events for time together. During these last few years, they have wanted to make memories of being together over the holidays. What a lovely idea. And what a great plug to give tickets to the theatre as part of that new tradition. How are the two feeling as final preparation gears up for preview performances and a December 7 opening? Matt has called this rehearsal time a transformative professional developmental opportunity for everyone involved. The two have progressed in their professional development in mounting and promoting the show. However, Matt quickly points out that they would not have anything without all the collaborators involved who have taken their hands and shown them the efficient way of getting the show where it needs to be. Adrenaline is pumping, but everyone is: “Unbelievably excited. We’re actually having a lot of fun through this process. Pursuing this has been a gift; working together has been the icing on the Christmas cookie.” Kerr added that it’s also been a joy for her and Matt to marry their experiences and professional careers up to this point in more of the performance aspect. And now they are on the other side of the table, making creative decisions. Bringing the creative and production team elements together provides an energy force that has become invigorating. There’s a nervous energy, especially around the holidays, but it’s a positive one in working on a new endeavour together. What’s the plot of the show? The show has a ‘Hallmarkian’ feel to it. There’s a widower and his socialite girlfriend. He has a teenage daughter and two trouble-making twins. Throw in a possible promotion on the line, an old family lodge and a seasonal employee whose Christmas spirit can really melt the heart of Jack Frost. One overarching moral/theme that permeates is that family is what you make of it. There is also the theme of the family you make along the way. The show also looks at the traditions that unite people at this time of year. The show’s website contains the cast members. Check it out as there are names from Stratford. Several of them appeared in the final production of 'Monty Python's Spamalot', closed the show, travelled to Toronto and began rehearsals again. There’s a complete sense of pride as 'Chris, Mrs.' is a wholly Canadian company employing artists and arts workers as everyone emerges from the pandemic. It was important for Matt and Katie to hire artists whom they trust in the collaborative process. The couple also wanted to give Canadian artists a sense of stability in providing work. Liam Tobin (Ben Chris) and Danielle Wade (Holly Carmichael) lead the company of performers. They have enjoyed tremendous success south of the border but have looked forward to performing for Canadian audiences. Most of this current company has come over from the December 2022 workshop. That workshop was collaborative with some fantastic round table in-depth discussions regarding choices made in plot, character development and songs. Katie complements this cast, whom she calls talented, seasoned performers. They have looked at revised scripts and noted some things that may have been missed or might need to be placed back, given the series of revisions. Matt also underscored how blessed he and Katie have been with the artists' tremendously valued and appreciated collaboration regarding the songs. For example, what might have worked when he and Katie initially wrote the music and sang with their voices was not suitable later for the voices whom they had cast. Wow! That’s high professionalism when artists work so closely together to ensure a musical operates on its numerous levels. What has also been an honour for the two of them? They’ve worked with many of these artists from other shows many years ago when they were all performers. What’s uniquely special about their working together again this time? They’ve all felt valued and heard in the distillation of a piece that is both satisfying as an actor and an audience member. An annual Christmas tradition for me over the last ten years was seeing Soulpepper’s production of ‘A Christmas Carol’ at the Young Centre. Things move forward. Dickens’ story is told by many theatre companies in Toronto and GTA, but I’ve missed seeing Soulpepper’s production these last few years. Will ‘Chris, Mrs.’ become the annual holiday story/go-to theatre tradition? “We would love and be honoured for audience members and families to make ‘Chris, Mrs.’ a tradition whether or not it’s every year in Toronto. If it has a life outside of Ontario or Canada, we would love for the musical to be an annual tradition down the road for sure. Of course, it’ll be up to the audiences, and we hope word will get back to us to make the show an annual holiday traditional favourite.” A new musical is always exciting for all artists involved. What’s next for Katie and Matt once the show concludes its run? For Matt, it’s sleep, and we all had a good laugh. The two of them are keenly focused on making ‘Chris, Mrs.’ the best show it can be. They always have ideas about new material or adaptations, but Katie said: “It’s easy to get distracted by shiny new things,” and again, we shared a good laugh. Look for my opening night review after December 7. ‘Chris, Mrs.’ – A New Holiday Musical - runs December 5 – 31 at Toronto’s Winter Garden Theatre, 189 Yonge Street. To learn more about the show and to purchase tickets online visit www.chrismrs.com . Previous Next

A talk with a professional artist about their career. Back Ahmed Moneka Canadian Chat --- Joe Szekeres Iraqi artist Ahmed Moneka has been described as “a cultural force to be reckoned with” as he is working towards his Canadian citizenship. His background on how he arrived in Canada fascinated me and I wanted to learn more about him. And I hadn’t even spoken to him as of yet. Ahmed arrived in Canada on September 10, 2015, and left Iraq for 10 days. He was invited to the Toronto International Film Festival to screen the movie in which he both co-wrote and appeared. The movie was about homosexual rights in Iraq, and there was a wave of events regarding the issue in 2011 in Baghdad. When the film was screened in 2015, Ahmed received threats from the militia in Baghdad and was forced to stay in Canada in order to save his life. Moneka has collaborated with many professional companies including the Canadian Opera Company, Tarragon Theatre, Aga Khan Museum, Tafelmusik, Driftwood Theatre Group, Toronto Jazz Festival, Koerner Hall, Modern Times Stage, Jabari Dance Theatre, Toronto Laboratory Theatre, Theatre Centre, and TRIA Theatre. He is one of the founders of the band Moskitto Bar and is the creator and leader of Moneka Arabic Jazz – a 2019 Stingray Rising Stars Winner at the Toronto Jazz Festival. And he has also learned English in his association with these fine institutions. Ahmed next appears in Crow’s Theatre production of ‘Bengal Tiger at the Baghdad Zoo’ which hopefully opens January 26. There are some fine artists in the production with him and I am sincerely hoping to get to see the production live. Ahmed and I conducted our conversation via Zoom. Thank you so much, Ahmed, for taking the time and sharing your voice: From glancing at your personal web page, I can see your love of the arts of music and theatre has indeed flourished as you have collaborated with many fine Canadian performing arts institutions. Please describe one element or one moment in your life where you instinctively just knew that your path forward would be as an artist. To be honest, I studied theatre in Baghdad for nine years and had an amazing career there. The plan when I came to Toronto was to stay for a short period of time with TIFF. I then had the opportunity to stay so I had to figure out my life. The adjustment with the English language was a huge portion of my life throughout six years. I wanted to see ‘Blood Weddings’ by Lorca directed by Soheil Parsa through Modern Times Stage. This production was amazing. I’m very familiar with Lorca’s work. I went to speak with Soheil with my broken, limited English. I told Soheil how much I loved the production, the transitions. It was amazing. Soheil asked me if I know theatre, and I said that I did know theatre. I told him I’m a newcomer here and that I would love to be in a rehearsal hall. Soheil said to come over as there was a workshop for ‘Waiting for Godot’. I didn’t have any money for the workshop. Soheil asked me where I was from. When I told him I was from Iraq, he said he was from Iran and to come to the workshop of Godot for a free welcome. This was my first workshop in Canada with Modern Times Stage. After the two-day workshop of ‘Godot’, Soheil hired me after that. It was this moment where I believed that I could have a career here in Canada as a theatre artist. I shifted the gear with music as well as it was a huge part of my healing experiences and circumstances, and it was my hope to continue music in sharing my culture with the Toronto community. Do you have a particular preference either of music or theatre to share your narrative voice or do you find as an artist there is a gelling of the two? To be honest, Canada taught me how to be a musician. I learned music from my family. We sang and danced for our rituals, but here in Canada for the first three years, music was a big hope for me. Music was the only language I knew how to share with people. But I’m a theatre artist. I love acting. I love theatre. I love artists. I love that complicated process of theatre. Now I feel like I’m being able to express myself and act in English, and now I consider both music and theatre very close to my heart. I’m hooked. Both music and theatre are powerful ways of delivering stories as a narrative. Would you name one teacher and one mentor for whom you are thankful as an artist, and how these individuals influenced your life as a performing artist. One teacher who has influenced me is d.b. young. I was part of the Soulpepper Academy and d.b. young was with us every Monday of the seven months we were studying. She’s awesome in the way she opened us up and built us up with confidence, especially within me and my ability to push myself towards a theatre career by being honest and real about it. That helped me a lot as an immigrant to be able to trust myself again, be confident again in what I believe and what I love by being a part of the Canadian theatre scene and being part of my new home here in Toronto. As a mentor, my friend, Zac, but also in theatre specifically Jeremy Smith (from Driftwood Theatre). I was connected with Jeremy through an amazing opportunity through the Toronto Arts Council mentorship program for newcomers and refugees. It was a bridge between a newcomer artist and an established artist in Canada. It was a good potential because there was money paid for this entire process. Jeremy was my guide. He introduced me to a lot of people, and we had many meetings where I met many people, going and seeing different shows and meeting individuals there. I also became an Artist in Residence through Driftwood, and they were working on ‘Othello’ that year. As an Iraqi/Arabic, I did some research on the jealousy and what Shakespeare would have meant by the jealousy in the play. My involvement was paid for. When I finished my residency, Jeremy asked me to accompany the group on tour in Southern Ontario. It was beautiful for me as it gave me an opportunity to see southern Ontario and to connect with Ontarians everywhere. I also got to connect with Jeremy and his family. I was very lucky as I felt safe with Jeremy as I was learning English while I was involved with something that I loved – the theatre. Jeremy and I are also in collaboration on future endeavours. The global pandemic has certainly changed our view of the world we once knew. How have you been able to move forward as an artist during these tumultuous times? To be honest, it has been very tough, very tough. But as an Iraqi artist, I believe that art has a purpose and a mission more than action. I have faced many obstacles back home in Baghdad and that made me flexible and adjustable to any circumstances that faced me. I’ve played a lot of music; we’ve played in the park and open venues to create something in order to keep surviving. Toronto is a very expensive city, and I’m a father now. I have a daughter with my wife and my family just came over last year. I receive so much from my family in my push and desire to grow as an artist, as a father, as a son, as a brother, as a husband. At the same time, it’s been very tough financially in that would I have to quit making art and do something else. I don’t want to quit art. I want to keep going. I’ve been writing some theatre pieces, working on an album and also I’ve been thinking about creating a television show about my life here in Toronto and Canada combined with the music scene to shine Toronto. Toronto is a beautiful city with everyone here harmonized here in love and peace. I’ve been taking advantage of sending emails and having interviews, so I want to thank you, Joseph, for this opportunity to connect with others. Theatrically, I’m connected more now than I was before the pandemic hit. I’ve applied for a lot of auditions. I’m getting work. I just finished Soulpepper Academy. After I finish Bengal Tiger at Crow’s, I’m performing next in Orphan Song at Tarragon Theatre. I’m pushing and trying to figure things out, but it’s disappointing to see how the government treats theatre artists. There’s not enough financial support. There’s not enough acknowledgement and recognition towards arts and culture because that is dynamic to the hope of the city. We need to consider art as something important in terms of what’s happening now. Although I haven’t seen ‘Bengal Tiger at the Baghdad Zoo’, the plot intrigues me and I am quite curious about it. There are two parts to this question: Please share what it is about ‘Bengal Tiger’ that attracted you to the piece as an artist. ‘Bengal Tiger’ is about Iraq and takes places in Baghdad in 2000. I was in Baghdad in 2000. I witnessed the war. I heard the bombs; I saw the destruction and how the war destroyed the city. This was my second war as I also witnessed the Gulf War. War is disgusting. I hate war. I hate guns. I hate money that goes to war. ‘ ‘Bengal Tiger’ talks about the war, talks about the disease of war from different perspective which is wonderfully written between the dictatorship of Saddam and the pressure towards the Iraqis and the Americans when they came when the city was destroyed and took the city out and allowed the chaos to happen. I play Musa, an Iraqi translator, who used to work as a gardener creating a topiary. The ghost of Uday Hussein who once employed Musa murdered Musa’s sister, Hadia. Through the journey there is a gold gun that Tom, a soldier, took when he killed Uday. Uday tells Musa he must use the gold gun as “leverage” against the Americans. While working as Uday’s gardener, Musa created a beautiful topiary garden that has since been destroyed by the war. The topiary garden, also the site of Hadia’s murder, becomes a gathering place for ghosts. There’s trauma, there’s ghost haunting, there’s the killing of the tiger. There is a crazy, psychedelic spiritual world. The play talks about Iraqi society are victims between Saddam’s dictatorship and the American invasion of Iraq. There are so many character arcs in the play that drew me to the play. I feel it is part of my journey through the play to share this story of the Iraqi people, their voice and to show that Iraqis are not terrorists, not involved in any terrorism even in 9/11. The Iraqi people were tired of Saddam and opened the door to the Americans; there was hope of the dream to Iraq being connected to allies and open to the western world. Unfortunately, none of this happened. What message do you hope audiences will come away upon seeing ‘Bengal Tiger’? I hope they will believe that Iraqi people are not bad people. The Iraqi people are good people. That is why I said yes to this script and being involved with it. And also I’m so glad to say that I am the first Iraqi involved with this production of ‘Bengal Tiger’. Robin Williams played the tiger in the Broadway production. To be honest, this Toronto cast is incredibly talented…there is zero production rehearsing in Toronto right now and we continue to rehearse with safety protocols in place. But in taking these safety protocols to heart, we are also taking the risk to hope to do this show in public. We are refusing to film it or do it online. We are rehearsing the show with the hope of performing it live beginning January 27. We will be ready to go by then. Everyone is on top of their work. Audiences will be blown away because it’s really amazing this production is a masterpiece – there’s conflict, there’s trauma, there’s love, there’s comedy. There are all the elements of theatre. Yes, there are moments where you will feel uncomfortable and will make you question certain things. There will be moments where you are on the edge of your seat sitting forward and absorbing as much as you can of the action and the characters. I’m helping members of the cast with the accent and so is my sister. I’m so eager and excited to have this show open to the public and to share this story with everyone, and let audiences then decide how they will respond to what is presented before them. Someone once told me the life of an actor and artist is not all sunshine and autographs, but a life of ups and downs personally and professionally. In light of the sometimes-precarious world and life of the actor/artist: What intrigues Ahmed Moneka? Exactly. You said it. We are like a lottery and that intrigues me. We audition. We show up fully on our game. This is the case with the artist. We must be prepared all the time and decide how we want to be involved and with which projects do we want to be involved. We have to believe in ourselves, and listen, listen, listen to any potential opportunity that could come I will create my own opportunity if none is created for me. What frustrates Ahmed Moneka? Sometimes it’s the system that frustrates me. There’s rules of work here that I sometimes think are lame. For example, three weeks of rehearsal is not enough time to shine. I know there’s tech, there’s preview, but the rehearsal is the most fun thing at least for me. In rehearsal you try, you try, you try until you find it. We need to create a star system here in Canada. We need to believe in our own artists here in Canada much like there is the belief in the artists of Hollywood and New York City. Toronto is so unique and there are so amazing artists. I want to listen to them and hear them. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors and teachers who encouraged you to get to this point as an artist, what would it be? “Thank you so much for trusting.” 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? “Look at me now.” What’s your favourite swear word? Fuck! It’s amazing. What is a word you love to hear yourself say? “Love” and I have a sentence I always say: “Love is the main reason for a creative future.” What is a word you don’t like to hear yourself say? Hate unto others. With whom would you like to have dinner and discuss the current state of the live Canadian performing arts scene? Justin Trudeau What would you tell your younger personal self with the knowledge and wisdom that some life experience has now given you? Oh, my, this is going to bring me to tears. I would say thank you for choosing hope and life and peace. With the professional life experience you’ve gained, what would you now tell the upcoming Ahmed Moneka from years ago who was just in the throes of beginning a career as a performing artist? Thank you so much for resisting and for telling your father, “No, I want to do theatre instead of cinema.” What is one thing you still wish to accomplish both personally and professionally? Personally, I want to be a wonderful husband and good father and good son, brother and friend. I want to be a good human in listening to everyone around me. Professionally, I would really like to enter the television and film industry. Name one moment in your professional career that you wish you could re-visit again for a short while. Being in the same room with Wajdi Mouawad. I worked with him in the Canadian Opera Company. It’s crazy how he’s convincing. He’s like a little boy but he is so talented and so humble. I want to learn more from him. To learn more about Ahmed Moneka, please visit his page: www.ahmedmoneka.com . To learn more about Crow’s Theatre, visit www.crowstheatre.com . Previous Next

A talk with a professional artist about their career. Back Jonathan Goad Moving Forward The Company Theatre website Joe Szekeres It took me many weeks online to get Stratford resident Jonathan Goad and pin him down for an interview. I was so pleased and grateful when he thanked me in an email for not giving up on him since his schedule was an extremely busy one when the pandemic hit, and life changed for all of us. I’ve tremendous respect for Jonathan’s work at the Festival and remember his extraordinary performance as Atticus Finch in ‘To Kill a Mockingbird’ which left me in tears at the standing ovation. Jonathan also directed another personal favourite of mine at the Festival, Arthur Miller’s ‘The Crucible’, whose message is still connected to our world today. Jonathan also appeared on one of my favourite CBC shows ‘Republic of Doyle’ as Jake Doyle’s (Allan Hawco) wayward brother, Christian, who returns home. It was also nice to learn that Jonathan attended Bowmanville High School and knows about the Durham Region and the fact his parents attended local community theatre productions in Durham. We conducted our interview via Zoom. Thank you again, Jonathan, for taking time to chat with me as we all move forward in this pandemic: 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? Well, I mean (and then there was a somewhat nervous laugh) I’d have to be half crazy to say that there’s anything about it that I like, ya know, in terms of disease and disease progress. I’m not entirely surprised and I don’t think anyone else is. We were warned of the second wave. I think we did a pretty impressive job in Ontario in getting things essentially in a much better place in the summer but clearly this second wave is a doozy. What it requires of us is an even greater fortitude and bearing down and being brave and doing what we have to do, at best, mitigate and contain to the best of our abilities this virus. To be succinct, it’s not good news but at the same time it’s also not necessarily unexpected. And what I’m hoping is that maybe around 1,000 we can start to see the precipice of this hill and get on the other side of this wave and maybe, somehow, stymie a third wave. I’m definitely an optimist about our prospects for ultimately beating this thing. I think science minds all over the world, despite not always being helped by some of the political bodies out there, some of the greatest minds are working on it because they all care about humanity. I think humanity cares about the majority of humanity so that energy alone will ultimately prevail in this thing. For awhile I was checking the numbers every day just out of my own fascination and to make good personal and community decisions and those for family as well. I wasn’t obsessive about it, but I was checking because I was trying to see how this thing was shaping up. Now I find I’m doing that less and what I’m checking on is vaccine progress and therapy progress, and just checking on how people are finding ways creatively to continue to live and feel like there is life. I’m more focused on these things. It’s a weird way to use the term ‘happy medium’ but we’re probably not going to get a vaccine as quickly as they thought. I don’t think it’s going to be nearly as long as the initial prospects were when people were talking about a vaccine taking 5-10 years. Miracles are happening in the science field. Now, does that mean spring? Summer? Fall? 2022? I don’t really know, but I do feel we will get back to a new but utterly to a normal that won’t feel like we’ve had to cash in on everything we’ve believed in and savoured about life and freedom. I’m always an optimist, almost a foolish optimist but not a naïve one as I believe it’s always worthwhile going now we’re going to fix this sooner than you think. With the right will and energy, miracles happen. How have you been faring? How has your immediate family been doing during these last eight months? All things considered, pretty good. We’re lucky we live in Stratford as it has been a little bit of a bubble in that we haven’t had the same sort of evidence of the disease in the community. That said, from what I’ve experienced, and I’ve been out in the community since this thing began, people take it quite seriously which is really good. Generally speaking, people are pretty adherent to masks here in Stratford and care about each other in the community. There was a part of me that was concerned about impact on the kids because kids are antithetical to the nature of this virus. Kids beautifully embrace each other at close distances. Kids don’t wear masks literally and figuratively as they are open souls and so the idea of mask wearing and fearing the person standing across from you is antithetical to how kids embrace life, I think. That said, kids are pretty cool and pragmatic and can find fun in anything if you help them. Kids have made a thing about being pretty smart in wearing masks, hand washing, social distancing and even about protecting one another. Kids care and that’s a really inspiring thing. My own kids have been pretty good. They have moments where they quite rightly express they can’t have the birthday they wanted or that they can’t do this and that’s to be expected. For the most part, my kids and all the kids around them have been amazingly brave and got on with the business of living. As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally? (Jonathan paused and thought a great deal before responding) I’m definitely a mid career artist and I’ve had a lot of great fortune. I’ve been utterly blessed in this profession. If anything, I haven’t felt sorry for myself. I don’t mean to say that like I have such nobility, as I’m just fine. I’ve mourned for the loss of some personal projects, maybe. More so I feel like I’m at a stage in my career that I’ve had an opportunity to do a lot of things. I’ve a lot more I like to do. The hardest thing has been to watch other artists around me, some friends, and even just young artists I know simply through their work get stopped as they have. This immediate shutdown of our industry which was quick and severe can be difficult especially when you’re an artist that is just emerging, an artist that is about to do their first big part in a play. Some artists I was working with just landed their first contract and first season at the Stratford Festival in one of the musicals. That has been one of the hardest things to watch that. Ultimately you can offer words as a balm but what you really can’t do is much about it at the moment. The reality is so evident. In the world of the theatre it’s impossible to deal with as there is no simple or easy fix for the situation. Theatre is more vulnerable to this particular thing than anything else. I’ve been on a film set a couple of times in this pandemic. There are big adjustments, it’s not perfect and even that industry is working at a quarter of what it was, but it is crawling back. It’s quite possible with the calculated risk in television and film is lower. But theatre is the quintessential communal artistic endeavour. It thrives on its aliveness and certain forms of close proximity. All that to say, the hardest thing is to think of friends, colleagues, and particularly young people on the crest of their first big show or any part and everything stopped. I find it hard to decide what to say about it. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon? We were three weeks into rehearsal for ‘Spamalot’. Just from the way it worked out in terms of scheduling, I was only doing ‘Spamalot’. While it was a wild, vigorous, challenging, and hilarious rehearsal process, once I opened ‘Spamalot’ I was going to have a pretty sweet summer. We would have done four shows a week and a show that is about as ludicrous as they come and is designed 100% to ensure that we never take ourselves too seriously in this life. It was a real gift on so many fronts. We had just staged a great deal of one of the massive, massive numbers where they go back to Camelot for debauchery. I was to play King Arthur. I have no idea what the Festival’s plans are regarding a future staging of ‘Spamalot’ or any of the productions. I’m sure the Festival is spending a portion of their days coming up with a series of contingency plans based on how things roll out, how we navigate this crisis. I don’t know. My feeling is that the Festival is committed for many reasons to do everything they had planned this year at some point in the future. That rollout will probably be over the next number of years. Whether ‘Spamalot’ makes the cut or not, I’m not sure. It all depends on the theatre they plan to open. The challenge for Stratford is that they were on probably five, six or seven of their major shows they were probably 80% or more built. They invested all that time and money up front and, of course, there is no return until people are in seats, so it was a bit of a perfect or terrible storm (as you might say) for the Festival. On that level, they are committed to doing these things because they have the beautiful sets, the costumes, the props designed. If next year, the Festival only opens two of its theatres the shows in those theatres last year might be the only ones they would consider. Even then they might not be the right fit or reduced company sizes. I feel they might make an outdoor space next year and ‘Spamalot’ could certainly work outdoors. I think it’s a great initiative if they consider doing some outdoor theatre. I directed a show this summer, a one woman show, that was part of a small festival here in Stratford. When I first saw outdoor theatre, that’s what I think really inspired me to go into the theatre. Certainly, particularly, in sort of a Shakespeare bend. The fundamental beauty that happens in an outdoor setting when a group of people is telling a story to another group of people is almost second to none. Of course, I love indoor theatre as well as there are some challenges to outdoor theatre that you wish weren’t there. In the end, outdoor theatre is not a compromise. It’s not some sort of lesser form, it’s actually the roots of what we do and maybe the roots of why we do it. What have you been doing to keep yourself busy during this time? I’m crazy about building. I’ve got a whole series of projects that I was finishing up. I’d always promise the girls I’d build them a playhouse in the back, and it became an ethic project. Home building projects, many of which have been started, are much closer to their completion. Spending as much time with my family as I could which is always been my priority and now there’s no way around it. In many ways, the challenge of parenting hasn’t got any easier. You may have more time on your hands, but you have to be more creative in how you deal with things. I directed a play in the summer and helped out in any way I could with this ‘Here For Now’ Theatre, a local young woman started with a couple of friends and it ended up being a real success. They worked hand in hand with the local health unit, all outdoors in a safe endeavour and environment, tiny cast ( 1 person show). A local improv group also did one of their shows. What was inspiring and illuminating was the hunger that people were craving for this experience. The numbers are humble compared to the Festival but a ton of people came out with their love and generosity and their hearts to see the shows. This fall I’ve been auditioning for film and tv. I’ve had a couple of voice over stuff and just recently I’ve returned to set for a couple of episodes of things, so yeah, no shortage of busy. 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 don’t know if it is sage, but I don’t think my advice would change from what I would tell a group five years ago or five in the future, and that is ‘To Keep At It’ Never stop dreaming. We will come through this and the optimist in me says we will come through stronger, more resilient with a greater sort of passion in our hearts, maybe a greater passion for the grand project of humanity. If there’s a definitive in this, it’s the fact we are all in this together. The enemy is no longer each other; I say that with condition as not everyone is on board with that. But I do feel what this brings home is that truly we are all in this together. It took me a long time to come round to living a life in the arts. I had incredibly supportive parents, but I grew up in a small class working town (Bowmanville) and it took me a long time for me to say that performance is my job. This is a legitimate thing to do with my life. If anything, this pandemic has re-affirmed for me the value of artists in society and that we’re in this rare position of your job requires utter vulnerability, and at the same time resilience. Never forget as an artist that vulnerability is at the core of your being, your willingness to share, to be open, to pursue personal and societal truths. These are the things to define an artist. And so, what I would say to young people or any artist (and I certainly say this to myself), ‘Keep going. Keep moving forward. If you feel as if you are about to give up reach out to another artist friend and talk to them, or any friend. This is temporary, but how long is temporary? I would never be so bold as to say. We emerge from this as artists stronger and more resilient and as society and focusing on bigger and more eternal truths.” Do you see anything positive stemming from Covid 19? I sort of have a belief and speak directly about the work in the theater because I’m part of The Company Theatre in Toronto, our work with that is all about incubation. Incubation is happening all over the place. It always does happen, but it’s happening in a profound way. Crows Theatre has a number of initiatives in that same regard. Theatres everywhere are going, “Ok, we can’t perform”, but they can still do things, we can think, reach out, we can write, collaborate, share. The collaborations are happening everywhere. People are sowing seeds in the field. That’s a real positive. When you realize you can’t make money at this time, you’re reminded of the essence of theatre anyway in that it’s not really a commercial venture. We scratch out livings from it, but in the end there’s something much bigger, much more profound about what it’s like to pursue a life in the theatre. And no one goes into the theatre for money away (and Jonathan and I share a good laugh over that statement). If they do, then I’ve got some swampland to sell them. Ya, there are the Andrew Lloyd Webbers out there, but even ALW probably didn’t even know he would be Sir ALW. And to his credit he believes in making theatre all the time and he gives a lot of people jobs. We don’t get rich from this thing, but hopefully not to sound too cliched, we hopefully become spiritually rich and enriched where we live a life of meaning. Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene? On a bigger sense of things, for those of us who have lost work overnight and find ourselves faced daily with the notion that our career is on hold, we inevitably will find make work projects but we will still be busy with other things. This pause on a grander scale does offer time for reflection which is very important in a job where you are essentially and always on the hustle. Theatre is a hustle. I think most artists probably have had a moment or numerous moments to reflect on the bigger questions on why we do this job of performing and the life you want to make. There’s real value in that and you come out of that more informed, more involved person. There are great gifts in that. Even just gratitude that is something that I’ve made a point of focusing on is what to be thankful for daily, and that’s not easy. That’s an evolving process. In my experience I’ve been around hard workers all my life. I worked on farms when I was younger. But it is in the theatre industry where you find the hard workers. That’s not to say they’re the hardest workers but they are out there working hard. The hustle can put you in a frame of mind where you never take a moment to just breathe it all in and think about why you do the things you do. This time is a gift in that way. I do feel no matter how difficult this has been, there’s nothing more difficult than being in the ground. That’s something I have to remind myself constantly of each day. I may have lost some work and having had to make some hard choices and we’re all in this boat to varying degrees. At the same time, we have enough examples of people who have had a much harder go in this pandemic for the obvious reasons. We owe it to them to keep our own dreams alive and contribute to as little spread of this disease as possible until we find a really good way through 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? As this pandemic becomes prolonged and the restrictions around performing for each other inside spaces clearly is something that’s not going to happen tomorrow, the initial nature of online work was a way to keep the ghost light on as Graham Abbey’s initiative is. Some of those efforts were around whether it was the Festival putting up the series of plays or even people getting together and do readings, it was a way of getting together and keeping spirits up. I feel that no matter what level kind of technical savvy online streaming comes to or fantastically filmed versions of theatrical performances that I really enjoy watching, them, they are nothing compared to the real thing. They are a different thing I’m thrilled that they’re out there, but I don’t see them as a viable alternative, maybe as a complementary to live theatre. But I don’t think they are the future of theatre by any means. I just think because they become something else. And so, that said, live streaming is a great way of reminding us about theatre, but it is not THE THEATRE. Despite all this fraught tension, confusion and drama surrounding the pandemic, what is it about performing that Covid will never destroy for you? Well, if anything, Covid has affirmed for me the need and the desire for us as humans to tell stories, to share our stories. The roots of lighting the fire and having some food, we’re around the fire and tell a story. It’s an essential behaviour to communicate and share. That can take a lot of forms as theatre is a profound form for me as is film and tv. Theatre is so raw in its essence. Covid doesn’t take that away. What we really want is that human contact and the sharing of feeling and story is as essential as virtually anything. Covid just forces the artist to re-affirm that for themselves and to dig even deeper into their soul for the day when we can commune in a freer capacity again. Previous Next

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

A talk with a professional artist about their career. Back Adam Paolozza Canadian Chat --- Joe Szekeres Last time I saw Adam Paolozza perform on stage was during his years as a student at Father Leo J. Austin in Whitby. He was part of an amazing ensemble who performed ‘The Serpent’. That was in the 90s. Adam has gone on to do many things since then. From his personal web page: He is a graduate of École Internationale de Théâtre Jacques Lecoq, Ryerson Theatre School and has studied Corporeal Mime with the Decroux company Intrepido in Paris. He also studied Commedia Dell’Arte with Marcello Magni of Théâtre de Complicité. In addition to creation work, Adam is a dedicated teacher. He's been a sessional instructor at the Soulpepper Academy, taught at Ryerson University and the University of Toronto. He has given independent workshops in Scotland, France, India, and China as well as all over Canada, using his own unique interpretation of the Lecoq pedagogy. Adam's goal as instructor is to help students develop a spontaneous mind and body connection through a coupling of formal technique and improvisation. In 2014 Adam created BAD NEW DAYS to produce his own projects and explore his vision of a contemporary poetic theatre of gesture. He states: “I believe theatre has the potential to open up new space for radical thinking precisely because it is an art where meaning is held 'in suspense', so to speak, as pure potential." Adam and Bad New Days have been nominated for 18 Dora Mavor Moore awards, winning one personally for performance. We conducted our conversation via Zoom. Thank you so much for your time, Adam: Could you share one teacher and one mentor for whom you are thankful. Tony Labriola and Jim Shea, (two of my teachers at Father Leo J. Austin Catholic Secondary School in Whitby) were a good combination. They introduced me to Samuel Beckett, James Joyce, existentialism, absurdism, all different kinds and aspects of theatre history. They really supported my exploration and journey into becoming an actor. They definitely opened the door for me. I’m trying to think positively that we have, fingers crossed, moved forward in dealing with Covid. How have you been able to move forward from these last 18 -19 months on a personal level? How have you been changed or transformed on a personal level? I really took it as a chance to stop and pause and focus on personal change that was not happening at the same rate as some professional change. I wanted to line up some personal goals and professional goals. It was an existential pause. I had more time to exercise and got in better shape than I had been before which felt good, especially for being interested in physical theatre and to prepare when things opened up again. It was a time to re-examine things I really cared about and say goodbye to some things and create space for new things. It was a time to get myself together before coming back. How have these last eighteen months of the pandemic changed or transformed you as an artist professionally? (Adam laughs) Well, I’ve yet to see the full results. I have been lucky to have performed twice already. A friend of mine who lives in Estonia, we’ve been working on a show for the last couple of years which got delayed by Covid; then in August – September I was able to go there and perform in this puppet show we were working on. I just got back from Montreal two weeks with a show I’ve been working on. I thought a lot about art and theatre during Covid, and you start to realize when you’re in your forties like me, life starts to move fast and you start to realize how long things take, and you have to do things that you want to do. I thought it’s good to go back to basics after Covid. It’s made me decide what do I love? What kind of work do I want to make the most? Instead of worrying about what I ought to do rather than what my passions felt, I thought it’s time to follow that and let people follow if they do. In the show we did in Montreal, at the beginning I have a moment where I come on stage and stand in front of the audience in silence for quite a long time. I really felt the personal work I had done during Covid was very useful in that moment, and it allowed me to be more present and enjoy it. You can’t think too much when you’re performing, and I’m really trying to absorb as much of this as I can. It’s such a pleasure to be back on stage, and it’s left me with more gratitude and sense of wanting to slow those moments down. We’ll see how that transforms into the practice and the technique. There’s definitely a renewed sense of spirit, of purpose and enjoyment. Hopefully, we’ll be doing the Montreal show in Toronto soon as we were supposed to do it back-to-back before Covid. We’re planning to do the show at the end of April, and it’s called “Italian Mime Suicide”. In your professional opinion, how do you see the global landscape of professional theatre changing, adapting, and morphing as a result of these last 18 months? I think it’s still happening. I can tell you what I hope will happen. My big “concern” about theatre in Canada is being so focussed on the text and on a certain way of a certain kind of Canadian naturalism. My friend, Jacob Zimmer, calls it “upper Canadian naturalism” because I’m not speaking for all of Canada but Ontario and Toronto-centric which is the place I’m coming from. I wish, and what I try to do in my work (successfully or not) is to create theatre with what is possible theatrically, not what is just possible with text but with all the meaning that escapes text or is under the text, above it, beside it. My experience in working with theatre schools and with younger people is that we don’t see a lot of that work in English Canada. I always thought in Quebec that theatre is more visually or physically engaged with those aspects, but even there when I brought the work, I was told it is refreshing to see that work relies on gesture just as much as it does on text. I don’t know if it’s an anglophone thing or a British repertory model that has come down to us. I’ve always been inspired by commedia dell ‘arte. In a historical way, I love masques and how they organize things but what I take in a more contemporary way is the philosophy of when we’re in the space we improvise together. We usually have a plan, but it’s about that ‘liveness’, that danger (if you want to call it that), and we had that autonomy and anything can happen, really. I think that’s why theatres have been dangerous places during revolutions or traditionally there was talk to shut theatres down during times of social unrest. I think only focusing on text…hmmm…I can get that from a newspaper article but what can you give me from the theatre that’s different. I love that we’re talking about important issues and I never want to stop that. I want to encourage more of that, but I wish there was more theatrical thinking about that. I have always hoped and continued to hope that kind of meaning is only created by ‘liveness’, by being in a room and having the experience of being together of gathering. My sense is that people feel the loss of that and are really craving that, as I am as a spectator and as performer. I hope that more work starts to be created with that in mind of what is possible when people are in a room together. I hope we can use theatre to open up different ways of thinking for people more. A lot of inequality and shitty things became very clear to people during the pandemic, and then when things break down it creates a new space and new way of thinking or new ways of organizing. I’m hoping that kind of echo with people start re-organizing and coming together again in order to create work inspires that, and there is a sense that things don’t have to be the way they were before in broad strokes. What intrigues, fascinates, and excites Adam Paolozza post Covid? I just saw a concert at the Danforth Music Hall the other night, and just the moment when the lights go dark and a body comes on stage, you’ve hooked me already. That’s my favourite moment. I just want to see what are we going to do with that now? How are you going to take me on a journey? That’s the thing I love about theatre – that it’s extra and surplus from life, that we don’t need it “per se” but we do in a sense that we examine who we are by representing ourselves in the flesh. It’s a strange metier to work in. I’m just intrigued and hope that more companies don’t just reflect reality in a verisimilitude kind of way, but I want to see the response to reality. I want the imaginary world that I feel is connected to what’s going on that allows me to dissociate from the harshness of reality and enter into the space where meaning is held in suspense, and I can think about things at a distance rather than really just presenting things in a realistic way which has a place. Yes, there is a great tv, theatre and film representing this, but to me it’s just one choice of many so I would be intrigued to see more people looking for other ways, and other choices. What frustrates Adam Paolozza post Covid? I’m not into the online shows. To me, they can be cool but they’re not theatre. It’s a necessity for sure, and I love that it gives access to people with physical accessibility issues or neuro-diverse people where it’s hard to be in public. I hope that it doesn’t go away, but I was kind of frustrated. You could take a risk by stopping what you were doing for a little while if you’re lucky and privileged enough to survive which I was economically and all that. I just wish theatre creators wouldn’t rush so quickly into the next thing and think more about how you could use Zoom in a way that is more interesting???? I don’t know. I’m tired of the online stuff. That’s my frustration but more stuff is opening up. I hope we can go back into spaces and be safe. I understand why the world needs to recover but that hustle that people complained about before Covid (gas prices, groceries, and prices) is starting to return in a worse way catching up for lost time. Let’s stop and re-examine and not blindly go back with the horse pulling the situation rather than the person controlling the horse. I hope more positive change comes rather than reaction or people digging their heels in on the right and polarization. A sprawling answer, Joe, I know. RAPID ROUND Try to answer these in a single sentence. If you need more than one sentence, that’s not a problem. I credit the late James Lipton and “Inside the Actors’ Studio’ for this idea: If you could say one thing to one of your mentors or teachers who encouraged you to get to this point as an artist, what would it be? Thank you. You don’t realize so many small gestures, those little, small things you said had such an impact and continue to inspire. Thank you for being generous and supportive in a time it was really important and instrumental. 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 enjoyed this one when I read it earlier. What I would say would be, “Screw you” to some of the faculty at Ryerson Theatre School when I went there. (Note: this university is no longer called this name) when a young, impressionable Adam went in for his interview at the end of second year and was really excited to talk about art and my work, and they said to me, “Have you considered jaw surgery?” I have a bit of an underbite. The staff at the interview told me my work is fine but they were thinking I should get jaw surgery so I could be more palatable for television and film. I was lucky I had enough self esteem at the time to not be thrown by that. I’m a teacher now at the university and I couldn’t imagine saying that to a 21- or 22-year-old. Ryerson, the faculty and staff are better now. (Please note this name of the university is changing) When Perry Schneiderman took over, things improved dramatically. What’s your favourite swear word? Probably ‘Fuck’. I guess I’m pretty average. Maybe ‘shit’, but it depends on the kind of day. For exclamation or frustration, I would go “Shit”. If I wanted percussive impact, I would use “Fuck”. What is a word you love to hear yourself say? Exacerbate. I use this word in rehearsals as much as I can. What is a word you don’t like to hear yourself say? Brewery. I have a hard time with those r w combos. I like going to them, but I don’t like saying the word. With whom would you like to have dinner and discuss the current state of the live Canadian performing arts scene? This one was a tough one. I’m going to have to make the table bigger, cheat and give you three names: Walter Benjamin, Jacques Tati and Hans Thies Lehmann. What would you tell your younger personal self with the knowledge and wisdom life experience has now given you? “Stop worrying about how you’re perceived on what you ought to do and really have confidence and dig deeper into what it is you’re passionate about. Trust that this will bring people closer to you.” With the professional life experience you’ve gained, what would you now tell the upcoming Adam Paolozza from years ago who was just in the throes of beginning a career as a performing artist? “Don’t become jealous of the success of others and try not to let that be something that drives you. Think about the connections you make with other people and the collaborations. Hold on to that because that is a source of strength. Nourish that.” What is one thing you still wish to accomplish both personally and professionally? Professionally, I would love to tour more and to have my work seen by bigger audiences, bigger festivals. I would also really love to perform more in other people’s work. That’s not something that has happened as much as I would have liked. I would just like to be an actor in other people’s processes more. What do I hope to accomplish personally? I would like to be in a place where the pleasure of working and the practicing of art is really the main driver. There’s obviously going to be a certain amount of satisfaction gained by praise. But as I get older in my life, I want to focus more on what it is about the work that nourishes me, so my delicate emotions don’t get thrown around by the winds of criticism and opinions. I just want to have more inner strength. Name one moment in your professional career that you wish you could re-visit again for a short while. Maybe in theatre school. When I was there, I was aware that was a special time at that time. More important in my life would be after theatre school when you start to become idle and don’t have much work right away, I would want to talk to that younger Adam and tell him not to get so bogged down in the negative. Just have faith and all is happening in movement even though you don’t see it. After Ryerson, I went to the LeCoq school in France and it was just exactly what I wanted to study. I remember sitting in a class and the teacher was teaching something that I had really wanted to learn about pantomime. I just remember thinking, “I’m here. I made it at the exact place where I need to be as professional and aware and soak up as much of this as I can. So pay attention. You’re lucky you’re here.” What is one thing Adam Paolozza will never take for granted again post Covid? Being able to be in front of an audience. I miss that so much. Not being able to do that during these last 19 months made things difficult sometimes and what’s the point. This is a privilege and pleasure I never want to take for granted. Would Adam Paolozza do it all again if given the same professional opportunities? Yeah, I think I would. Besides certain people, I don’t think I love anything in life as much as I love theatre. I feel good about my choice. To learn more about Adam, visit www. https://www.badnewdays.com/adam-paolozza To learn more about Bad New Days Theatre: Facebook: @badnewsdaysperformance. Instagram and Twitter: @badnewdays Previous Next

A talk with a professional artist about their career. Back Herbie Barnes Theatre Conversation in a Covid World Red Works Photography Joe Szekeres Toronto’s Young People’s Theatre new Artistic Director Herbie Barnes talks about the movers and shakers of the next generation to follow him at the end of this profile. Even before this occurs, I am eagerly anticipating and waiting to see where he will take Young People’s Theatre just over the next five years itself because I would also call him a ‘mover and a shaker’ in the theatre industry. According to YPT’S website: “Mr. Barnes is an accomplished playwright, performer, director and arts educator whose 30-year-career spans stages across North America. He was among the generation of young Indigenous artists in the 1990s breaking down barriers to forge professional careers in Canadian theatre. Mr. Barnes will officially begin his tenure at YPT in the fall of 2021.” An Anishinaabe theatre artist from Aundeck Omni Kaning First Nation on Manitoulin Island, Mr. Barnes was raised in Toronto. His theatre career began in 1989 with Debajehmujig Theatre Group, touring Ontario with the first run of Drew Hayden Taylor’s Toronto at Dreamer’s Rock. Since then, he has collaborated with some of North America’s largest theatre companies and was nominated for a John Hirsch Director’s Award. His new play, Bent Boy, was workshopped at YPT and shortlisted for the Sharon Enkin Plays for Young People Award in 2020. We conducted our conversation via Zoom. Thank you so much, Herbie, for the interview and for sharing your voice to the discussion: We’re now one year without live theatre where the doors have been locked for who knows how long, Herbie. How have you and your family been faring during this time? I have to say I’ve been one of the lucky ones, knock on wood. It started out where I thought it was going to be a two-week holdup when we got sent home from Magnus Theatre in Thunder Bay. And I went, “Oh, this is okay. I’ve been working a lot, and this is good, I’ll take a two-week break and then I’ll move on as we were supposed to take a tour from Magnus down to Nova Scotia.” I further thought we’ll pick up the tour in Nova Scotia and we’ll be fine and then I was going to go off last summer to work at the Charlottetown Festival. No thought of this closing down for a year. And then it just kept going. So, I took a little bit of a break at the beginning and then I thought I should find some work since I’m not working. I ran around and did a bunch of things online. We did children’s mysteries on the telephone through the Ministry of Mundane Mysteries. We would call kids on the Monday, Tuesday, Wednesday, Thursday, and Friday and create this mundane mystery. It was a great idea and the kids just latched right on to it and we got to play so many different characters. Brilliant, brilliant idea. So much fun. I started teaching and taught all the way through. I did a program online where I was teaching young people. Theatre that I just filmed in this crawl space in my basement where you see me now that I get to kick around in. I’ve been very, very lucky. My partner Marjie has been working almost straight through. My two kids were lucky, and they’ve been working right through too. Everyone’s healthy. What we did was we took the pandemic seriously. The hardest thing: my two kids live outside the house and so they weren’t part of our bubble. We have been masking from the porch to see them. Their grandparents put a big heater in the garage for visits. I can’t wait until we can hang out with our kids again. Outside any theatre stuff, what have you been doing since the industry has been locked up tight as a drum? I’ve been doing a number of interviews and have been teaching in the evening from 3 pm – 9 pm. My afternoons are full so I’m booking a lot of morning events. I’m also writing for Charlottetown Festival right now and also sorts of little things all over the place. I didn’t realize I was going to be that busy. One of the things I did I took a writing course for ‘Writing for Television’. I decided I was going to take guitar lessons online. I’m in the midst of building a guitar. I kind of got heavily online. We have three storeys in the house. Marjie’s got the upstairs level where she is teaching classes in an office space she has. Down here, this has always been my space. I come down in the morning, make a pot of tea and then get lost down here for most of the day and then realize it’s 6:00 pm. so I go upstairs for supper. Marjie’s been great because she does all the cooking. I’m a horrible cook. Every day, Marjie takes me for a long walk. We got to know our neighbourhood really, really well. Every once in awhile we’ll drive to somewhere else and walk around that neighbourhood. The late Hal Prince has described theatre as an escape for him. Would you say Covid has been an escape for you, or would you call this time something else? This is definitely not an escape. I haven’t escaped theatre. I’ve escaped…this is an awful way to put it but I’ve escaped the audience. Unfortunately, they’ve been on the other side of this screen which is totally different. As a theatre artist THIS (Herbie points to the screen where we are talking) doesn’t compensate for what the theatre does. There’s nothing like a live audience. Even when I did film and television, I was always performing for the camera guys or the lighting guys. I never thought of that little box recording all of that. If the crew was laughing, then this must be working. I miss the audience. I miss sitting beside somebody and having that same effect as the person next to me. I’ve been telling this story quite a bit. We know the audience’s heartbeat is synchronous while they watch a show so that all 150, 300 whatever number of people, their heartbeat beats at the same pulse during theatre. That’s an amazing feat live theatre accomplishes. I love that. What I’ve been doing is developing. I’ve been working really hard having stuff lined up here; I’ve been teaching classes. There’s going to be a group of students coming out of this pandemic hopefully more prepared. My writing: I’ve finished writing a native adaptation of ‘Tartuffe’ which is getting produced this year at Magnus Theatre at least. I’m also doing an adaptation of ‘My Fair Lady’ in a native context as well. I think it’s really interesting how the white guy or the settler in that case is saying that your language isn’t good enough and what it did to the First Nations people. And also preparing to get ready to take over Young People’s Theatre in Toronto in October. I’ve been more busy now since I haven’t been travelling. What travel used to do to me was I could block off three weeks while I was directing in Vancouver and not take work since I was directing. Now I’m free so I can take work up until 230 pm. I’ll write that, direct that, teach that and there are days when I come out of my basement Zoom tired. I’ve interviewed a few artists since the pandemic began who have said they cannot see live theatre returning fully (or what might some call ‘normal’ or ‘back to normal’) until at least 2022. Yes, there may be pockets such as what the Stratford Festival is proposing. What are your thoughts about this? Will live theatre return before 2022? I think theatres will open. I think by September 2021 we’ll start to see a crack with public spaces being open. I think audiences are thriving to be together. I firmly believe that. But… Audiences will be a little afraid to get into a space with each other. That will happen. Certainly, we will know, not in my case with YPT, a lot of theatres rely on older audience members. They’re going to make sure they’re safe first. But I think the audiences are striving for that feeling. I think we are a communal animal. I think we need each other. We desperately need each other, and people are missing that. That’s the big thing. A lot of people are willing to risk in order to be with human contact. I’m hoping it comes back even stronger. I fear for our film industry. I think our film industry, and we’ve realized we can watch most movies on our home systems because we’ve got these great tv screens and being able to hook them up with incredible sound systems which don’t need to be that expensive, but the more expensive the better the sound. You can build a theatre in your own basement now with very little money. Superhero movies are the big blockbuster now. They aren’t making the great small screen stuff now. Our tv shows are phenomenal. ‘Game of Thrones’ would have had to be a movie 25 years ago. Now we can watch this incredible journey. I fear for our film industry, but I don’t fear for live theatre because there’s nothing like being in the same space waiting for that production to begin and feeling the same thing. I had a discussion with an Equity actor who said that not only should theatre entertain, but more importantly, it should transform both the actor/artist and the audience. How has Covid transformed you as a theatre artist and in your new role as we all move forward post pandemic? It’s given me a huge respect for theatre, that’s one thing for sure. I miss it. I’ve been working in the theatre for over 30 years now. It’s been something that’s been a part of me. We’ve all had goals to do film and television, and I’d love to do more film and television because it pays well, it’s lucrative, there’s the instant gratification of knowing who you are. Whereas in theatre, you slug it out. Theatre, you’re a plumber. You go to work every day, put a satchel over your shoulder and walk into the theatre. Few people recognize you. Even after the show, you can walk past people out into the middle of your audience, and they don’t know who you are because they are not on that stage. With tv, it’s the instant recognition perhaps in a commercial. Yes, we do go into the arts in order to get recognized a bit. Being without theatre and that fear of it never coming back, yes, it’s a little bit but it’s still there, it’s re-grown my love for the theatre. I love being with the audience. I love opening nights being unsure of what the product you’ve got, that edginess. I come from an improv background. When you’re out on that tightwire, not knowing how an audience will react, it’s the best. There’s nothing like it. 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 artist the audience both feel it. Would you agree with Ms. Caldwell? Have you ever felt danger during this time of Covid, and how will this danger influence your work as we re-emerge from the pandemic? Do I agree with Ms. Caldwell? I somewhat do. We’re going through a different time right now. I grew up in an era where actors who were constantly put in danger emotionally, psychologically (it’s like pushing the envelope and trying to get deeper and deeper into the character). Now, when we’re training, we’re doing less of that. Safety first, everything is about your emotional well being. I’ve seen lots of trauma in the theatre. Many of the actors before and during me endured a trauma being misdirected or harmfully directed in that sense. We’re taking greater care now to ensure actors can get on with their lives as students and as people in the arts. I think theatre should push as far as we can. I think emotionally that’s our job to take audiences on an emotional journey. That’s it. Other than that, any of the arts – music, painting -it’s not about painting inside the lines. Great painters don’t paint inside the lines, they colour outside the lines. When I see a certain painting, I might go ‘Wow! Okay! I don’t know why but that’s different than that.” Same with music. Right now with all of these television competitions, I hear amazing voices. What I miss is the emotion attached to it. When Neil Young and Joni Mitchell sing songs, I go “Wow!” Levon Helm didn’t have the greatest voice, and you can’t hear ‘The Night They Drove ol’ Dixie Down’ without welling up. Or Rick Danko in ‘Makes No Difference’. You can hear the hurting and heartache behind the song. So that’s our role. The actor must take the audience on an emotional journey and feel like there’s danger. I tell my students when I’m writing or directing in the theatre or acting, I want my audience to pay for the whole seat but only sit on the corner of it. I want the audience to feel like they can save the person who’s about to die on stage or to stop that woman from falling in love with that bad man. We need to push the emotion, but we must also keep the actor safe. How is it going to transform after Covid? I think we’re going to be surprised where theatre is when we come out of Covid. I think we’ve had an incredible amount of protesting that’s gone on in this time. A crazy amount of change is going to happen. People on the fringe are going to be let in IN A HUGE WAY, and theatre will transform. We won’t throw the European framework away completely, but we’ll explore other forms of theatre and be able to welcome. The late scenic designer Ming Cho Lee spoke about great art opening doors and making us feel more sensitive. How has this time of Covid made you more sensitive to our world and how will it impact your life when you return to the theatre in your new role as Artistic Director? Marjie and I were talking about this the other day on our walk. There is no way that we cannot think globally anymore. We have all been included in this pandemic and there are no borders and no walls. Those borders are false borders so it’s amazing how quickly the pandemic spread. It makes me aware of countries in the world that are different than me and how I have to be aware of them, how I have to be open with them, and how I have to exist with them. I’ve said this before: I don’t believe in a minimum wage. I believe in a maximum wage. I truly believe we should set up a system where you’re only allowed to make a certain amount of money, and once you’ve hit that level of money (and I don’t know what amount it should be) you have to stop working and travel the world so that you get to see it. And you hit those countries not the Riviera, not England or Hawaii, you go to countries that are desperate and I think you start to see where that cheap piece of clothing comes from or that electronic device and this will change your outlook on life. Covid has made me aware of how much I need people, aware of the rest of the world and aware of how much I want to be a part of it. And we’ve come full circle back to the late Hal Prince who spoke of the fact theatre should trigger curiosity in the artist and the audience. How has Covid sparked curiosity in you as an artist and what will happen with your curiosity as you return in your new role as AD of Young People’s Theatre? Curiosity? I want to hear 100, 000 different voices. That’s my curiosity. As a teacher, I’m interested and want to hear the voices of young voices, BIPOC voices LGTBQ2 voices. My goal is to go into areas we haven’t tapped into yet. As a First Nations artist, I want to go North and go into the communities in the North. I know, growing up on the reserve, young people had little to do. We were good at playing sports, and the fear of going outside that, especially in the arts. We need strong people to keep the interest in the arts going. We need strong teachers and educators to keep that energy going. Those are the curiosities I want to seek out. I’ve always been a curious person so it opens conversations and I want to be a listener in a big way as the Artistic Director of Young People’s Theatre. I think I have a couple of years of just hearing what the world is saying. That’s going to be my job there to listen to what the world is saying and then try to pass it on to the next generation of young people so they are the changers, the movers and the shakers. That’s it. To learn more about Young People’s Theatre, visit www.youngpeoplestheatre.org ; Facebook: @YoungPeoplesTheatre Twitter: @YPTToronto Instagram: @ypttoronto Previous Next

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

A talk with a professional artist about their career. Back Tanisha Taitt Self-Isolated Artist --- Joe Szekeres During this time of isolation, I’ve been in touch with some of the Artistic Directors in Toronto, Stratford and Montreal to profile their work from home and online since they are isolated from their theatres. One of these companies has a unique sounding name I’ve always liked every time I hear it – Cahoots Theatre. To be in cahoots is clever. I had reviewed their production of ‘Good Morning, Viet Mom’ and wanted to learn more about this company. I was pleased when I got in touch with newly appointed Cahoots’ Artistic Director, Tanisha Taitt. Tanisha was appointed October 1, 2019. Her biography on Cahoots’ website is highly impressive, and I heartily recommend you read it. From 2013-2019, Tanisha was a Dramatic Arts mentor with the Toronto District School Board. She has worked in many theatre companies including National Arts Centre, Obsidian, Soulpepper, Nightwood and Buddies in Bad Times. She is fiercely committed to inclusion and to racial and cultural representation in the performing arts. I am looking forward to seeing what she has programmed for the next season and once it’s safe to return to the theatre. We conducted our interview via email: 1. How have you been keeping during this nearly three-month isolation? How is your immediate family doing? What a crazy time. It’s been a rollercoaster for sure. About three weeks after isolation began, I suddenly found myself feeling very ill, and ended up being quite sick for about ten days. I am much better now but that was scary. My family is doing well. Although I sadly have not been able to be with them in person since early March, we talk everyday. 2. What has been most challenging and difficult for you during this time? What have you been doing to keep yourself busy? Difficult? Being ill, being away from my family and friends, the incredible uncertainty with regards to the future of the theatre industry and carrying the weight of the racist murders of unarmed Black men. I’ve been writing a lot, reading a lot, listening to music that I love a lot. And I will very likely write a new album soon. There are SO many songs bouncing on the walls of my head. So very many. I was a singer-songwriter long before my life led me to theatre, for many years, and that is still my go-to place when life feels like it’s spinning off its axis. I’m also pondering who I want to be on the other side of all of this. This incredible shaking that the earth is experiencing right now cannot be for naught. I feel that I must emerge having learned and grown in some way, while at the same time not trying to force anything that isn’t true. One thing I’m trying to do more of is face-to-face, one-on-one conversations online, rather than quick emails or texts or Facebook messages. And good old-fashioned phone calls. So underrated. I want more time with my friends, even if we can’t be in the same room, feeling connected on a more intimate level. 3. Tanisha, I can’t even begin to imagine the varied emotions and feelings you’ve been going through personally and professionally with other key players and individuals with regard to Cahoots’ future. In your estimation and opinion, do you foresee COVID 19 and its results leaving a lasting impact on the Canadian performing arts and theatre scene? I sure hope it does. If it doesn’t, then a lot of people lost a lot of work and a lot of money for no reason other than a virus. I’m not saying that to be trite, or to downplay the impact of this disease and the enormous suffering and loss attached. I’m saying that if the only things to come out of all of that are negative, that will be a second tragedy. I hope that this time is causing all of us to look deeper at what it is we’re doing as a species, and on more of a micro level, as an industry. I no longer take theatre for granted, at all. We’ve all seen how quickly that which we were certain of can vanish. So, I hope that the lasting impact of this is not a financial one, but an ideological one. 4. Do you have any words of wisdom to console or to build hope and faith in those performing artists and employees at Cahoots who have been hit hard as a result of COVID 19? Any words of sage advice to the new graduates from Canada’s theatre schools regarding this fraught time of confusion? All I can say is that this will eventually end. Things won’t be the same afterward, but I don’t believe that we are out of theatres forever. I think that the most important thing is to stay in touch with your creativity, because creativity is innately hopeful. That doesn’t mean that you need to be making something all of the time, or any of the time for that matter. But it means that the part of yourself that is the visionary -- the designer or the director or playwright or actor or producer or teacher -- cannot be allowed to fade away. Because we will need you more than ever when we return. We will need to reignite the theatre, and it will take all of us holding onto our matches in order to do that. We can’t restart the fire if we’ve all thrown out our matches. 5. Do you foresee anything positive stemming from COVID 19 and its influence on the Canadian performing arts scene? I hope that we become more genuinely compassionate and less self-centered. There is a lot of genuine goodness in our industry, but there is a lot of machination and ego too. Like, ego that would be laughable if it wasn’t so damaging and obnoxious. I am hoping that the vulnerability we have all been made to feel during this pandemic, on multiple levels, makes us kinder. 6. You Tube presentations, online streaming seems to be part of a ‘new normal’ at this time for artists to showcase their work. What are your thoughts and comments about the advantages and/or values of online streaming? Do you foresee this as part of the ‘new normal’ for Canadian theatre as we move forward from COVID 19? I think that each company needs to make that decision for themselves. I think there’s been some great stuff streamed, and some very-hard-to-sit-through stuff streamed. People are trying because this is all new to us. I do think that it’s been a bit reactive, like there’s a sense of sheer panic about getting stuff online right away or having things for people to watch all of the time. I don’t think that’s necessary at all. I think that it’s going to become extremely oversaturated and eventually people will just turn away from it altogether. Some of what is being thrown at the wall will stick and some won’t. There will be magic and there will be mediocrity, just like on real stages. We’re all likely to stream something that is a bit of a hot mess, and something else that works beautifully. A lot of trial and error is to come, because yes, I think that there is going to be a lot of virtual theatre coming in the year ahead. 7. What is it that you still adore in your role as Artistic Director of Cahoots that Covid will never destroy? Well I just began in the role last Fall, so it’s very new still. But I love what Cahoots stands for and I adore the enormous honour that I’ve been given -- to try each and every day to convert those values into art and community bonding. My commitment to that can never be felled by a little pandemic! With a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton, here are ten questions he used to ask his guests: 1. What is your favourite word? Truth 2. What is your least favourite word? Retarded 3. What turns you on? Tenderness 4. What turns you off? False equivalencies 5. What sound or noise do you love? A baby’s gurgle 6. What sound or noise bothers you? Car alarms 7. What is your favourite curse word? I don’t really swear, but I’ll admit that hearing a truly horrible human called an MF has a certain and very- satisfying poetry to it. 8. Other than your current profession now, what other profession would you have liked to attempt? A&R Director at a record label 9. What profession could you not see yourself doing? Gravedigger 10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates? “Well done, my love.” To learn more about Artistic Director Tanisha Taitt and Cahoots Theatre, visit www.cahoots.ca . Previous Next