Actor Archives - James Hutchison

Mieko Ouchi: 2023 Lieutenant Governor of Alberta Distinguished Artist

Posted on December 10, 2023December 5, 2024 by James Hutchison

On September 16th, 2023, friends, family, and members of the Alberta arts community gathered in Medicine Hat to celebrate this year’s recipients of The Lieutenant Governor of Alberta Distinguished Artist Awards. This year’s recipients include playwright and theatre artist Mieko Ouchi, film and theatre performer Michelle Thrush, and film animators Wendy Tilby & Amanda Forbis.

Chair of the Lieutenant Governor of Alberta Arts Awards Arlene Strom said, “Albertans can be proud of the contributions of these Distinguished Artists who have pushed the boundaries of art to reflect indigenous identity and expression, present a more inclusive and diverse view of Alberta’s history, and highlight the art of film animation in Alberta and worldwide. Each has contributed immeasurably to the development of the province’s artists, arts communities and expanding art disciplines.”

L to R: Wendy Tilby, Amanda Forbis, Her Honour Salma Lakhani, Mieko Ouchi, Michelle Thrush, Photo Credit Randy Feere

Her Honour, the Honourable Salma Lakhani, Lieutenant Governor of Alberta said, “The women receiving the Distinguished Artist Award this year have offered important contributions to the arts in Canada. We have all been granted the opportunity, through their work, to learn and grow in our understanding of the human condition. Artists such as these are essential to the lifeblood of our communities, and we are truly fortunate to have them as cultural leaders in their respective disciplines, in our province and our country as a whole.”

I contacted Michelle Thrush as well as Wendy Tilby and Amanda Forbis to talk with them about their work and creative process. You can read those interviews by following the links above. I also spoke with Mieko Ouchi who is a theatre and film director, screenwriter, dramaturg, playwright and a passionate champion for new play development. She is also a fierce advocate for accessibility, inclusivity, diversity and equity across all ranges of artistic output. In our conversation we talked about her approach to storytelling, how she works as a dramaturge to help other artists bring their work to the stage, and what it means to be recognized for her work by receiving The Lieutenant Governor of Alberta Arts Award.

JAMES HUTCHISON

You have a big body of work now and I wonder when you look back at that has your approach to telling stories grown and changed over the years?

MIEKO OUCHI

I think as an artist you do grow and change as you write more, and you create more, but I also feel like there’s a heart that always remains the same. And maybe this was best illustrated quite a few years ago when Red Deer College commissioned me to write a play for a group of students. I pitched a couple of new ideas and then I said, “There’s this play that I started writing in grade eleven about the DaDa Art movement and I did some workshops with some professional theatres, but it was never finished, and I’d love to go back and finish that play as an adult.” And that was the project they chose.

And I went back and read this draft of the play that I’d written when I was seventeen and the wild thing is there were lots of things obviously, I had to change and fix but there was a way of writing – of turning a phrase – an approach to text – that remains to this day – and I recognized my voice in that script.

And right now the thing I feel like I’m growing in most is learning to build empathy for all my characters, and I think my goal is continually to make them more than 2D characters and to make them very complex people that actors will have to really dig into and figure out and audiences will too. Because to me those are the most interesting characters for myself as an audience member.

JAMES

I think those types of characters are the most relatable because they are the most human because we are so complex and grey. And how often have we done something and then said to ourselves, “That’s so unlike me. Why did I do that?”

MIEKO

That’s right. We recognize that people don’t fit neatly into boxes – that they do things impulsively. They do things against their better judgment or in spite of themselves all the time. And I think theatre is such a beautiful place to explore those impulses.

JAMES

As a playwright you bring new works to life, but you also work as a dramaturge and director assisting other artists to bring their work to the stage. What are some of the important elements you feel are needed to help workshop and develop a new play?

MIEKO

I really see my job in those roles as being like a doula or a midwife. So, you’re in the room. You’re highly connected to the event – to the people – but you’re also a little bit separate and you’re there to help, encourage, and support the person who is giving birth to the new play.

So, I feel like I’m there as an encourager. I’m there as someone with a lot of experience to say, “Here are some things I’ve noticed in the past when we’ve made these kinds of theatrical decisions.” You know someone who knows a little bit more about technical theatre and how theatre is put together and can help playwrights who might not have a background in that. I’m really kind of a sounding board and another set of eyes to say, “I really noticed this. Did you notice that?” Or “This really landed on me this way today.” Just some information for the playwright to take in.

Playwright/performer Mieko Ouchi in a reading of Hiro Kanagawa’s ‘Forgiveness’ at the 2019 Banff Playwrights Lab. Photo by Jessica Wittman.

I always think it’s not up to me to fix the play. I hate the word fixing plays because the play’s not broken. We’re just continually digging out new layers and things that we want to explore. And it’s not for me to write the play. I’m there to help the playwright find the best form of the play that they can find and that they can write.

And also, in that sense of a doula I want the experience to be a positive one. So, I think I’m also there to make sure the process is a safe and comfortable and a pleasurable experience to go through because it can be stressful. Just like birth. You’re there to make it be the best and most happy place it can be.

JAMES

You mentioned creating a safe space and I understand that but sometimes we’re dealing with plays that are asking difficult and complex questions and so we have to be open to uncomfortable discussions and exploring possibilities. How do you create a room that is open to discussion and yet is respectful and safe?

MIEKO

I think transparency is really helpful. Just being very transparent about those things and talking about them in advance and to say, “You know we’re coming up on this scene that’s really challenging and there’s a lot of content in there that might challenge us in personal ways.” So, you just give people a heads up and say, “If this brings up feelings and thoughts that are unexpected or that take over in a way that you weren’t hoping they would – just come and let me know and we can take a break.” Everyone has a heads up and there’s an open conversation.

And I think there are other artists now that we can invite into the room. There are fight choreographers. There are intimacy co-ordinators. And there are other people we can bring in who have the tools to help us. So, I think that’s been a really great evolution and it has made those things less like – let’s wing it and hope for the best to having a bit more structure and having conversations around it. I find when people have that space then things stay nice and calm, and we figure it out step by step, and everybody feels more comfortable.

JAMES

You’ve talked about your play The Red Priest and you’ve called it a very transformational experience. And I understand that it came into being because of Catalyst Theatre and they had commissioned some writers – you among them – to write short six-minute pieces. And you wrote something called Eight Ways to Say Goodbye. And afterwards you started working on expanding it because it had a great response.

And then Ron Jenkins made you playwright in residence – even though you’d never actually written a finished play – because he believed in you. And you ended up finishing the play, and it was nominated for a Governor General Award, and it won the Carol Bolt Award for Drama from The Playwrights Guild of Canada, and if you’re going to write a first play that’s a pretty auspicious beginning. So how did writing that play, winning that recognition, and having people believe in you transform your view of yourself as an artist?

MIEKO

Well, I think one of the key things is I was so extraordinarily lucky to have Ron recognize me so early as a writer and to encourage me before I had that belief in myself. He believed in me before I believed in me. And there was something about the passion that he brought by saying, “I know you can do this. You have a voice. You just have to be brave enough to let it out,” that got me over the finish line.

He encouraged me to take a risk because it was a very personal story. From the outside you won’t know that. But I’d just gone through a really really heartbreaking relationship breakup in my life and that is very much imbued in the play even though the play’s not in any way autobiographical. A lot of the emotional feelings of what happened are in that play. He encouraged me to let that be there. And I think the lesson that I learned from that play with the recognition that it received was that the moments that people all brought to me afterwards – like audience members would say, “Oh, this moment is the moment that meant the most to me,” were all things that were true. They were emotionally true. There was a core of it that had happened to me, and I was revealing something very very honest. And I think to learn that lesson that early as a writer was an incredible gift because it taught me that when I was truthful people connected.

JAMES

How much do you think drama then is exploring our emotional response to the world?

MIEKO

I think it’s everything. I think that’s exactly what it is. Theatre just gives us this incredible chance to explore feelings that you might not have fully explored in real life where we don’t have a chance to say that to our parent or to our partner or to our child, but on stage we can kind of enact that.

Augusto Boal said, “Theatre is a rehearsal for change.” And I believe that too. It’s a chance to try out things that haven’t happened yet or to say, “What would happen if I put this scenario into a play?” So, for me, it’s been an incredible chance to explore not necessarily autobiographical things but emotionally things that I’ve been through or are thinking about.

JAMES

And then people who have experienced that same emotion even though the context might be different can relate to it.

MIEKO

Yeah.

JAMES

I’ve heard other artists talk about the more specific you make it the more universal it becomes.

MIEKO

One hundred percent. I’ve felt that totally. I really did feel that. And it was very exciting because at the same time that I was having this experience I was also working as a filmmaker and making documentaries. Initially, they were about my family and very biographical and even autobiographical types of projects. And so, I think I was in a world where I was trying to find truth. Whatever, that meant to me and to bring that forward. And that recognition really said, “You’re on the right track. Be brave. You’re onto something. Just keep going.”

JAMES

You mentioned you went back to a play you wrote when you were seventeen and it seems to me all the writers I know have a drawer full of unfinished work. Sometimes we hit a wall and other projects become priorities and I’m curious about those unfinished projects. Do they go quietly into the drawer? Do they protest? Do they whisper to you? Do they remain dormant? When do you open that drawer and take them out and look at them again and work on them?

MIEKO

Those dormant plays – they’re just kind of asleep right now. They’re having a long nap – at the moment. Yeah, I have a couple. And I think they have to find their right time where I feel mentally ready to go back and explore them.

Meilie Ng as Lily in the 2011 ATP Production of Nisei Blue by Miecho Ouchi.

I have a project that premiered at ATP called Nisei Blue which was a noir detective story. And I felt like I didn’t quite get to the heart of it by the end of that production. It was a very fraught time because my father had just passed away before we started rehearsals. And my mind wasn’t fully hitting on all cylinders, and I wasn’t able to get to the heart of it because of everything going on in my life. So, now I’ve actually started a process of adapting that play into a novel and I feel like I am very slowly archaeologically getting there through a different medium. Sometimes it’s about digging into a play at a different time theatrically or maybe it’s approaching it through a different entry point.

JAMES

So now you’re exploring writing a novel — how is that? Fun? Exciting? What have you learned? Where are you at with that?

MIEKO

Oh, my gosh. So, when I started it was terrifying but also it was weirdly exciting because I thought, “I don’t know anything about this. So, who cares? Throw all the rules out the window. I don’t feel beholden to any rules or any lessons because I haven’t had any yet other than being an avid reader and knowing what I like to read. I don’t know any of the things that we’re supposed to know as a novelist. So, I’m just going to start writing the story from my heart — the way I kind of wrote The Red Priest” And there’s just something exciting to be at the very beginning of a learning process. To be at the bottom of this giant mountain looking up at the peaks and the great writers.

And I’m really intrigued by the interior voice. That’s something this novel has let me dig into with this character that I was never able to share with the audience in a stage production. I think my main character in Nisei Blue is a character with a really rich interior world and so writing a novel has really opened up the story for me because I’m able to share what’s running through his mind. And that’s been exciting. That’s been a totally fresh take on it. And it feels right. It feels like a good way to tell the story.

The Citadel Theatre’s production of Pride and Prejudice (2023), directed by Mieko Ouchi and featuring Morgan Yamada, Nadien Chu, Ben Elliott, Beth Graham and Gianna Vacirca. Photo by Nanc Price.

JAMES

This year there’s been a lot of chat about artificial intelligence, and I believe we’re on the edge of a really big disruption in science, business, and technology. And I don’t know what that looks like, and I don’t know if anyone really does but as an artist I was curious about your thoughts about AI and what sort of impact you think – positive or negative – it might have on the arts and the work you create.

MIEKO

Well, I think as a writer there’s a part of it where my heart just sinks at the thought of it. Because I believe in that human journey of struggling to find the path through writing and to find the path to expression. And to allow a computer-generated draft to be hacked out kind of hurts my soul a little bit as a writer, to be honest. But I suppose there might be some places where it is useful. There’s just something to me about the struggle to figure out the path of the story or the play that’s essential to its final shape and its humanity. And I know that some of the things that I’ve seen that have been AI generated that have been in the voice of Chekov or Shakespeare are kind of like gobbledegook.

As writers, we sometimes have this filler dialogue when we’re struggling and you have one person say, “Hello.” And the other person says, “Hi. Why are you looking at me that way?” And they say, “I don’t know. Why are you looking at me that way?” And nothing’s actually happening. We’re just going back and forth. It’s like we’re getting the rusty water out through the pipes until the clear water comes through and you get to the heart of a scene. And I sometimes feel that AI writing is a bit like that rusty water. It’s filler. It doesn’t really have that human drive and that soul that we need for writing to be compelling.

JAMES

There you go. Art is the exploration of the human soul.

MIEKO

That’s great. I love that.

JAMES

So, my last question is about you receiving the Lieutenant Governor of Alberta Arts Award and I was wondering what the actual evening was like for you where everyone gathered to honour the recipients and what does it mean to you as an artist to be recognized for your work and receive a Lieutenant Governor of Alberta Arts Award?

MIEKO

Well, it was such a surprise to find out I was receiving the award. It was really just a kind of a heart-stopping moment to hear Kathy Classen on the other end of the phone when she called and told me. I couldn’t quite believe it. And going to Medicine Hat was a wonderful experience.

All of the recipients were able to bring friends and family members along and it really felt like a family kind of weekend. And they rolled out the red carpet for us. They put on this beautiful art festival at the centre with kids doing art. We had our event and then we had a street party with a concert headed up by none other than Hawksley Workman who I worked with on a production of my play The Silver Arrow. He wrote the music for it at the Citadel. They didn’t know that when they set it up but to have Hawksley there was like the cherry on top of the cake.

That night felt like such a beautiful recognition of Alberta and all the people who have supported these distinguished artists to help them get to where they are. So many people talked about the mentors they had along the way. The people who supported them. Fellow artists. Community members. Teachers. Family members. So, it really did feel like a celebration of all that it is to be an Alberta artist and to be someone that has chosen to come here and work or to remain here and work and there’s just something so beautiful about having that connection to Alberta.

L to R: Clint Lawrence, Mieko Ouchi, Michelle Thrush, Amanda Forbis, Wendy Tilby, Photo Credit Randy Feere

And everybody spoke about that and I think back to my earliest days being a student at Artstrek and having my first tiny little play workshopped at ATP and having Ronnie Burkett as my set designer and Kathy Eberle my high school drama teacher helping me submit my play for that program. And you know Marilyn Potts has been a supporter since way back and then you know Bob White and Dianne Goodman – and all the folks at ATP – John Murrell and so many other folks in this province.

And then all the folks when I came to Edmonton who supported me. You know Stephen Heatley gave me my first summer job at Theatre Network as a summer student. Ron Jenkins supporting me as a first-time playwright and as a playwright in residence. And then all the way up to now working here at the Citadel with Daryl Cloran as his Associate Artistic Director and his support of me and my writing but also my directing on A-House stages.

He gave me my first A-House directing job and he gave me my first commission for an A-House play with Silver Arrow. You really need those folks encouraging you and, in your corner, making opportunities for you to help you find your path.

And so now I get to have that reversed a little bit and in my job at the Citadel I get to support emerging artists and help them get their first assistant directing job or be a part of the playwright’s lab and help them work on their new plays, and I’m really enjoying being able to pass it along and being an opportunity maker for other artists.

Michelle Thrush: 2023 Lieutenant Governor of Alberta Distinguished Artist

Posted on December 10, 2023December 10, 2023 by James Hutchison

Chair of the Lieutenant Governor of Alberta Arts Awards Arlene Strom said, “Albertans can be proud of the contributions of these Distinguished Artists who have pushed the boundaries of art to reflect Indigenous identity and expression, present a more inclusive and diverse view of Alberta’s history, and highlight the art of film animation in Alberta and worldwide. Each has contributed immeasurably to the development of the province’s artists, arts communities and expanding art disciplines.”

L to R, Arlene Strom, Chair LG Arts Awards Foundation Board, Wendy Tilby, Amanda Forbes, Her Honour Salma Lakhani, Mieko Ouchi, Michelle Thrush, Photo credit Randy Feere

I contacted Mieko Ouchi as well as Wendy Tilby and Amanda Forbis to talk with them about their work and creative process. You can read those interviews by following the links above. I also spoke with Nehiyaw performing artist Michelle Thrush a multiple award-winning actor whose acting credits include Bury My Heart at Wounded Knee, North of 60, Blackstone, Prey, and Bones of Crows. She is also a director, producer, community builder, and one of the founding members and current Artistic Director of the ground-breaking Making Treaty 7 Cultural Society. In our conversation we talked about her career, about her one-woman show Inner Elder, and what it means to be recognized for her work by receiving The Lieutenant Governor of Alberta Arts Award.

JAMES HUTCHISON

Michelle, when you look back over the course of your career and the body of your work as an artist in what ways has it been an intentional journey and in what ways has it been more a road of discovery?

MICHELLE THRUSH

That’s an interesting question because back when I was a kid there were not Indigenous people on television or anywhere really. We weren’t a part of the shows I watched like Little House on the Prairie when I was a kid or if we were it was Italians playing us. It was something that wasn’t in our psyche and so in my little brown girl brain I never thought that I could be an actress or work in the arts.

But I grew up loving pretending and loving imagination and I was always trying to get my friends together and direct shows and put on plays. And then when I was sixteen or seventeen, I met a man named Gordon Tootoosis who along with Tantoo Cardinal, Gary Farmer, Grahame Greene, Augee Schellenberg, Margo Kane, and of course Chief Dan George were all doing little bit roles here and there on film and that was the beginning for Indigenous people. I’d see them and think whoa there’s a real native person and they’d have a line in a movie like Running Brave where Robbie Benson who is Jewish played the actual star of Running Brave who was a Lakota.

And Gordon who was just a beautiful indigenous actor really encouraged me to follow my dreams and he said, “Michelle it’s important that we tell our stories from a place of honesty.” My big goal in life at that time was to be a social worker. And I ended up throwing that aside and just going, “Okay, I’m going to move to Vancouver from Calgary at nineteen and I’m going to try and get an agent and I’m just going to hope and pray that auditions come up.”

So, I did all that. Moved to Vancouver. And it took a few years of working in restaurants before I started to get a few little auditions. And I often say in 1992 Dances With Wolves came out and that’s when things began to open up for us as actors, and I ended up getting into a TV series called North of Sixty, and that was the beginning. And things just kind of fell into place after that.

Michelle Thrush as Aruka in 20th Century Studios’ PREY, exclusively on Hulu. Photo by David Bukach. © 2022 20th Century Studios. All Rights Reserved.

JAMES

It’s interesting you mentioned you were looking at being a social worker and I wonder if there are connections between that career and acting. Because social work and sociology look at relationships between people and between people and society and I think an actor has to sensitive towards those kinds of things.

MICHELLE

I think the connection for me was I grew up with two chronic alcoholic parents. And I didn’t realize the trauma that my family had been through because as a kid – and it’s really hard for me to talk about this – but as a child I had so much shame when it came to being an Indigenous person because I related it to the pain and the trauma of my parents and of my grandparents and of my aunts and uncles and everybody else in my family who was alcoholic. And as a child that imagination part for me was about creating these other scenarios that didn’t include violence and all that stuff that comes along with trauma which is a big part of my one-woman show Inner Elder.

So, when I was a kid, I knew it wasn’t proper that my parents didn’t know how to be parents. I knew it wasn’t proper that they would drink for days and us kids would fend for ourselves. In my brain, I thought if I become a social worker I can create change in this world for children. I can do something that’s going to make sure other Indigenous children don’t have to go through what I went through.

And then I realized through meeting Gordon and getting involved in acting that the power we have as artists can change the world and we wouldn’t have to deal with all the red tape it would take to be a social worker. It was like fast-tracking the ability to create a shift in people’s thinking.

Back then, of course, we didn’t have Truth and Reconciliation. We didn’t realize our families were suffering from this huge history. I just thought that my parents were messed up and I felt a lot of shame because I swore to God that every white kid at my school went home, and their moms would hand them cookies as they walked through the front door, and they had these perfect homes and alcohol didn’t touch white people. That’s how I thought when I was a kid. I thought it was something that was part of who we were as Indigenous people. But then you know obviously I learned that alcoholism touches everybody.

So, that connection between acting and social work was a very strong connection because there was the ability to really affect people’s lives using the arts as opposed to going in and trying to work with the family of Indigenous children. And almost all my work still leans in that direction, you know, trying to create healing. And I always say, “We aren’t in it for Shakespeare. We don’t do what we do to recite Shakespeare. We do what we do to create healing and to contribute to the goodness of our communities and our children.”

Eric Schweig, Darla Contois and Michelle Thrush in the Canadian Drama Television Series Little Bird

JAMES

You mentioned healing and change and you’re one of the founding members and the current Artistic Director of Making Treaty 7 Cultural Society and on your website, it says – “Making Treaty 7 is dedicated to Indigenous artistic expression and the transfer of Indigenous knowledge through story.” So, what are some of the things you feel you’ve accomplished so far and what are some of the plans, goals, and hopes for the future?

MICHELLE

Making Treaty 7 has had this really long history and I’ll just explain a bit of the history about how we began. Michael Greene who was one of the founding members of One Yellow Rabbit and is a beautiful Icon in theatre here in Calgary was a good friend of mine for many years and a huge supporter of the work I did in theatre with Indigenous story. And he was always trying to figure out ways to bring more Indigenous presence into the High Performance Rodeo and whatever else was going on in Calgary.

So, back in 2012 he became the curator of something called Calgary 2012 which was when Calgary became the artistic capital of Canada for a year. He ran that and we put together a committee of about ten of us – Indigenous and non-Indigenous – so we could have an Indigenous presence and we ended up forming a template for what we wanted to do. Part of that was exploring the land and the history here in Southern Alberta and how the land connects us to story. And not a lot of people including us – I’m Cree – my family is from Maple Creek Saskatchewan Treaty 4 but I grew up here in Treaty 7 and I have family who are married into the Blackfoot Confederacy, but we didn’t know much about the treaty.

The Making Treaty 7 production of O’kosi with Garret C. Smith, Mary Rose Cohen, Michelle Thrush, Janine Owlchild, and Dustin Frank. PHOTO: Hidden Story Productions.

So, I didn’t know anything about the treaty and the Blackfoot artists that we brought in didn’t know a lot about the treaty which was signed in September 1877 in Siksika. So, it was a huge learning journey for us, and Micheal ended up writing these big grants and bringing together over a hundred elders from Southern Alberta. And we asked what do you know about Treaty 7? And a lot of their parents and their grandparents were at the Treaty signing and so they opened up this huge vessel for us. And as artists we spent the whole weekend just listening to all these elders talk about the Treaty and the true intention of Treaty 7. And they talked about what life was like leading up to the signing, what life was like on those ten days, and what life was like after the Treaty was signed. What were the repercussions? What happened with the Indian Act. All these things.

And they just filled us up with all this incredible knowledge and we went out to Banff Centre for two weeks. And Micheal asked myself and Blake Brooker to be the directors of the show and I was an actor and a writer on it as well. And we came up with the very first Making Treaty 7 and we had to perform it for the Elders first and get their permission which we did. And it became this huge spectacle of incredible entertainment which brought in all the voices that call Southern Alberta home but was an Indigenously led process.

And since then we’ve been expanding on that and as the Artistic Director my goal is to wake up the stories that belong here. That are a part of this land. And to decolonize theatre and create a safe space for Indigenous people to tell stories of the land and I’m very proud because Making Treaty 7 is doing some really beautiful work.

Bernard Starlight and Quelemia Sparrow in The Making Treaty 7 production of Tara Began’s The Ministry of Grace. Photo Alanna Bluebird

JAMES

You mentioned your own show. You touched on it and I wanted to ask you a little bit about that. It’s called Inner Elder. I saw it when you did it at Lunchbox Theatre and really enjoyed it and thought it was an amazing piece of theatre. And in it you transform into an Elder in the play and it’s moving. It’s funny. What was the genesis of the story and what are some of the highlights of performing that piece?

MICHELLE

So, more than thirty years ago this character started coming through me and she was an old woman and she loved comedy. Her name is Kookum Martha and she was very much a clown in a lot of ways. And so I started to do comedy and she started to be known as an MC of various Indigenous conferences and concerts in Canada. And I hosted the Inspire Awards on CBC a few years back and we did some things with Kookum on there. And in 2018 Ann Connors was the curator of the High Performance Rodeo and she had seen my Kookum character and Anne’s like, “Why don’t you create a big show and we’ll fund you and we’ll present you for the Rodeo.”

And so, I was like how can I do a show in a way that honours the clown of Kookum as well as telling my own story in a way that doesn’t make me a victim. That allows me to sort of flip the script on what it means to grow up in an alcoholic environment and then winning the Gemini for playing a chronic alcoholic on Blackstone which is a show I starred on for many years. And I created a show about learning how to take what’s given to us in life and then turning it into something that works for us.

And when I get into the zone with Kookum she can get wild on stage and I’m like, “Oh my God, did I just hear her say that?” And I tell people when they hire me to do my comedy with Kookum I am not responsible for any marriages that break up because she goes after the white guys all the time. She picks on them and they fall in love with her. It’s a fun character. And I’m a true believer that as artists we channel our energy through us and it’s not about us – it’s about being vulnerable enough to bring that energy through us.

JAMES

That’s part of the magic of theatre I suppose that moment that you’re so fully in the story and the performance that it’s almost not really you.

MICHELLE

Yeah, it’s magic. And it happens in film too. I swear to God on that episode of Blackstone I did where I won the Gemini I stood there on my mark before I heard action and I prayed and called in my grandmothers, and they took over my body and I felt like I was allowing them to work me through that scene. And low and behold I won a Gemini and a whole bunch of other awards but it’s that trust to be able to really zone in taking the focus off of yourself and putting it on the story and then just allowing that energy to come through you. It’s about being vulnerable to the moment of creation.

JAMES

You know one of the things art can do is help us understand our place in the universe but I’m sort of curious as an artist do you think art provides actual answers or do you think art operates more to provoke us to come up with answers and ask questions.

MICHELLE

I think both. I often say as Indigenous artists that we’re frontline workers. We shine light into places that are dark. And the work that we do is not just about a love story or whatever. The work we do whether it’s in film or in theatre is tough and it sometimes creates huge amounts of triggers for people because what we focus on is bringing to light things that people don’t want to talk about.

And the work that I’ve done through the years and all of us as Indigenous Artists have done through the years is really truly groundbreaking work I think because that’s how you bring healing. I often say if you have a wound and you just continue to cover it all the time with Band-Aids it will never heal. You have to be able to bring the light to allow that wound to heal and I feel that’s what we do as artists – we bring light.

Bones of Crows, Day 2 Ayasew Ooskana Pictures with Michelle Thrush — Bones of Crows, Day 2 Ayasew Ooskana Pictures

JAMES

And I think you need multiple stories right? You need many stories. Like you mentioned initially Indigenous actors were getting little bit parts and now we’re seeing shows like Bones of Crows. That’s an epic story. I watched that and I thought it really is an outline for a five-season series. Because it’s massive. Each episode could be ten episodes. But having that story now expands what you can tell in the future, I think.

MICHELLE

Exactly because again, it brought light to something that previously wasn’t lit up. Like that whole history most Canadians don’t understand any of it. Our own people are just beginning to understand what happened in reality and when you do bring light you bring life and then you’re right it just spreads out and it creates more conversations and it gives people permission to be able to discuss those things that were taboo twenty years ago. It’s about expanding consciousness really you know as artists.

I was proud of Bones of Crows. Marie Clements is a dear, dear, friend of mine from years ago. I’ve worked on many of her things and it took her five years to get Bones of Crows to camera. It took a huge team to convince CBC and to get all the funding and it’s a fully Indigenously created, directed, written, acted, performance.

JAMES

So, Artificial Intelligence has exploded onto the scene this year and it’s going to be disruptive in science and art and everything and I am just sitting here going well – this is good – this is bad – so I’ve been asking a few artists and a few friends what are their thoughts about AI. What sort of an impact do you think it’s going to have?

MICHELLE

I don’t know. I feel like I’ve got my head in the sand and I’m trying to avoid talking about AI because it really bugs me. I have so many friends that are all pro AI and how it’s going to change everything and I’m just like, “No, I just want real humans. I have a hard enough time checking out at Safeway with computers” I’m so old school in that way and so I’m sort of in denial about AI and I don’t have a lot to say about it.

JAMES

It’s hard to know what the impacts are going to be.

MICHELLE

It is. Even the SAG strike had a lot to do with AI. And who knows man. They can do a video now of you and change what you’re saying and that scares me.

JAMES

It’s getting difficult to be able to distinguish between the fake and the real. And that can be scary. So, I guess we’ll have to talk about this in five years?

MICHELLE

Exactly.

2023 Distinguished Artist Michell Thrush with family and friends, Photo credit Randy Feere — 2023 Distinguished Artist Michelle Thrush with family and friends, Photo credit Randy Feere

JAMES

So, you’re one of the recipients this year of the Lieutenant Governor of Alberta Arts Awards and I was wondering what was that evening like for you where everyone gathered to honour the recipients. What sort of evening was it and what does it mean to you to be recognized for the award?

MICHELLE

It was a fun weekend. It was a whole weekend it wasn’t just one evening. The funnest part of it was they did it in Medicine Hat this year and my family comes from Maple Creek which is just forty-five minutes down the number one highway on the Saskatchewan side. So, when I found out I was receiving this amazing award and that it was in Medicine Hat I called everybody – “Everybody’s got to come to this.” So, the highlight of receiving that award was having two or three rows of my family – Indigenous faces out there with all these government officials. And it’s not often that we feel comfortable or welcomed into these types of spaces, right?

JAMES

Right.

MICHELLE

Even just in theatre alone and that’s a big part of my whole agenda is trying to find ways to make sure that Indigenous people feel comfortable in the theatre. It’s the same thing for these types of awards. My cousin got the Chief to come and they did a ceremony with me when I went up on the stage. It’s a beautiful ceremony where they come up to you on both sides and they just wrap you in this blanket. And they did that with a star quilt which is a beautiful handmade style of blanket. And to me that was such a beautiful gesture of honour. I’m glad obviously I got the Lieutenant Governor Award and the gold pin and all that wonderful stuff but to have my family there and to be recognized in that way was also an honour.

JAMES

How does it feel to be offering that mentorship now to others because Indigenous artists and young people today can look to you and see somebody who has a successful career?

MICHELLE

I try to stay away from this whole role model thing with Indigenous people. I don’t believe in putting anybody on a pedestal no matter who they are. I think we are all amazing contributors to each others light. But I do understand because when Blackstone came out my whole life shifted. I felt like a lot of my privacy was shifted with my own people because going to Pow Wows and stuff people are always coming up and they’re like, “Oh, my gosh, your character on that show was my mom or my auntie or my grandmother and then they would tell me this whole story of you know alcoholism in their family and how my character gave them permission to be able to discuss that.” And so again as an artist, it’s shining that light onto previous taboo topics and giving people permission to speak about it without shame and to share that load.

JAMES

How do you stay resilient then? Because that sounds like sometimes a heavy burden.

MICHELLE

I don’t know if it’s a burden at all. I think it’s just really a part of our development in this world. There are so many amazing beautiful things happening for Indigenous people right now. Like Reservation Dogs is on and we’ve got people in the NHL. And I remember I was on George Stroumboulopoulos back in the day – The Strombo Show – and I remember mentioning Wab Kinew who was rising up in the political scene and saying you know this is a young man who inspires me and now he’s Premier of Manitoba. And it’s just expanding continuously, and I get hope from seeing our young people. There are so many young people right now that are so resilient, and they are pushing boundaries that I never thought about when I was a teenager or when I was in my early twenties. I see these young people resurrecting language and being proud of who they are and that’s what keeps me going really is just knowing that we’ve got so many incredible young people.

Dr. Jekyll & Mr. Hyde at Vertigo Theatre – Interview Joe Perry

Posted on October 12, 2023December 12, 2024 by James Hutchison

Joe Perry in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media

The Vertigo Theatre production of The Strange Case of Dr. Jekyll & Mr. Hyde promises love – betrayal – and murder – and it delivers all three in a highly theatrical production all brought to life by a terrific cast under the artful direction of Javier Vilalta.

Joe Perry takes on the role of the tortured genius in a physically demanding and nightmare-filled performance. Daniel Fong is the voice of reason as Dr. Jekyll’s friend Hastings Lanyon. Grant Tilly plays Gabriel Utterson whose investigations eventually reveal the true relationship between Hyde and Jekyll. And Allison Lynch plays Eleanor Lanyon a smart complex woman who finds herself being drawn towards darkness and obsession.

This is a story of mystery and horror and the lighting, costumes, live music performed by the actors, the towering brick walls, and intermittent fog all add to the growing sense of dread and doom. Nick Lane’s script is faithful to the original story while providing some new and exciting elements. The play works best when there are big bold moments as we follow Jekyll – a man whose desire to provide the world with scientific knowledge – is thwarted by the monstrous pleasure-driven animalistic side of his own humanity.

I contacted Joe Perry to talk with him about the production and the process of bringing this classic tale to the Vertigo stage.

JAMES HUTCHISON

What does Dr. Jekyll and Mr. Hyde say about the light and the darkness that dwells in all of us?

JOE PERRY

It’s really looking at that duality and what happens when desperation and unintended consequences put you in a situation where you have to reconcile your own morals. Dr. Jekyll starts out doing his research looking to leave his mark on humanity but there is this unintended consequence. He feels released physically. Because as Dr. Jekyll he’s trapped in this physically ill body and when he becomes Hyde he’s free. But that freedom has consequences. And now he has to make a choice. Does he move towards that freedom that he gets with Hyde, or does he continue his work with the integrity that he originally intended?

And I also think part of the exploration is that we all have thoughts that are not something we’re proud of or something that we would say out loud, but the repression of that – of its very existence – is not going to make them go away. It’s just going to bottle them up and then they’ll explode out in an animalistic way. I think possibly that’s a bit of what people are afraid of in themselves. And being Hyde gives him this freedom and this release but at a cost to everyone around him and at the cost of his own sanity and at the cost of people’s lives and safety. And yet he can’t not do it because that freedom is so tantalizing.

Daniel Fong, Grant Tilly, and Allison Lynch in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media

JAMES

Besides yourself, this production features three other well-known actors to Calgary audiences. There’s Daniel Fong, Allison Lynch, and Grant Tilly. They’re all playing multiple characters in this version of the story. What was the rehearsal process like? What sort of discussions amongst yourselves did you have about Jekyll and Hyde as you brought the story to life?

JOE

Well, our director Javier really challenged us, and we had some conversations about those moral questions that the play was bringing up. And it was a really free and interesting room to be in. I’ve never been in a rehearsal hall like this because Javier works so visually. He has these beautiful stage pictures in his head that he’s putting together. And he sees all these design elements and the four of us are kind of like in this playground made of that but we’re not necessarily seeing all of the elements as he’s seeing them. So, we were able to play and extend in a way that you don’t get to do in a lot of plays.

And I think you see that in a lot of the characters. I think Grant, Allison, and Daniel have transformations as actors on stage as profound as the Jekyll and Hyde transformations. And their characters are just so wonderfully crafted by each of them that it’s really an honour to share the stage with them. They’re people that I have worked with before or I have watched on stage and I have nothing but the utmost respect for them. So, I am just sitting here in full gratitude every day to be able to share the stage with them.

Joe Perry and Daniel Fong in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media
Grant Tilly and Joe Perry in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media
Grant Tilly, Allison Lynch, Joe Perry and Daniel Fong The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media
Daniel Fong and Joe Perry in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media
Joe Perry in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media
Allison Lynch and Joe Perry in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media
Joe Perry and Daniel Fong in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media

JAMES

You mentioned that Javier uses a lot of physicality. And the play contains theatrical moments – moments that stick with you – and it’s exciting to see a production embrace that. How did some of those key moments evolve?

JOE

There’s a fight in the play that Javier had seen in his head and we kind of choreographed that together. He knew when he wanted it to go in slow motion and when he wanted it to be an extended, brutal, very theatrical sort of fight sequence. So that was sort of starting from the design first and then putting the movements into what he wanted to do.

But then with something like the first transformation from Jekyll to Hyde, he gave me a framework of where the lights would be and then he let me sort of free flow into it and he’d say, “More. You can go more.”

My favourite bit as an actor and something that I haven’t had the opportunity to do since theatre school is the final shattering of Hyde where it gets really expressionistic in the physicality. That was another bit where Javier told me to, “Just surrender to the physicality. This is not a moment of realism. This is a moment of extension. This is a shattering of the psyche and just surrender to it.”

And being able to do that as an actor is cathartic because you get to extend beyond what you would see in a naturalistic play, or what you would be able to experience in a naturalistic play. So that catharsis was really fun. And Javi had real specific ideas of what these characters would look like and then when he put them over into our hands he was really open to seeing where we were going with them and there was a real give and take and support.

JAMES

How is it to be back on stage and in particular the Vertigo Stage?

JOE

Honestly, it’s just an absolute joy. I was lucky enough to do The Extractionist by Michaela Jeffery here last year. That was the first play I’d done in four years. I mean, it’s my lifeblood. I missed it. I’ve missed it through the pandemic. Stepping away from the stage for that long was never the intention. And the Vertigo audiences are generous and committed. And it’s just a pleasure being able to play these characters on stage. I can’t even really begin to express my gratitude.

JAMES

Jekyll and Hyde are pretty iconic characters in the Western Cannon. They’re pretty well known and played by all sorts of actors in all sorts of adaptions including Spencer Tracey and Lon Chaney during the silent movie era.

JOE

That was one of the first ones I watched.

JAMES

What did you think?

JOE

It was great. Interesting and totally different themes.

JAMES

Yeah, totally. And that’s the neat thing. Do you think maybe part of what makes something a classic is its ability to be flexible in its interpretation?

JOE

Yes. The short answer is yes. The long answer is that this narrative is in almost everything that we watch. It’s Fight Club. It’s The Hulk. Jekyll and Hyde is in almost every movie. It’s in almost every play. Everybody knows Jekyll and Hyde on the macro scale. They know – take a potion and become someone else. It’s The Nutty Professor. And you can explore so many different themes. Nick Lane’s adaptation explores some very specific experiences in his life. Javier’s interpretation of Nick’s adaptation is Javier exploring his own things. And then my acting of Jekyll and Hyde is exploring my own thing. It’s just such a wonderful and rich conduit to explore the human condition because essentially, it’s about the duality of man, which I think is a pretty age-old question in philosophy and art.

Allison Lynch in The Strange Case of Dr. Jekyll & Mr. Hyde. Photo Fifth Wall Media

JAMES

There’s a female character Eleanor Lanyon who is new to the story in this adaptation and she seems to have a dual nature in many ways too.

JOE

Yeah, she’s a rich and complex character as well. And the way that Allison portrays Eleanor is super rich and complex. She’s dealing with more than just the potion and the science. She’s dealing with the constraints of a marriage that isn’t fulfilling. She’s dealing with the constraints of the time in society. And this is totally just my own look at that character. But I think she is really struggling with so many different constraints that the men in the play aren’t. We’re doing things for our hubris and honour. She’s doing things for her freedom and her autonomy.

JAMES

So, you got to play Jekyll and Hyde and there are other iconic characters like Hamlet, Poirot, and Sherlock Holmes in the Western canon. Are there other characters – well-known or not – that hold a particular fascination for you that you would like to play?

JOE

I mean, Hamlet is an easy answer. But if we’re going with Shakespeare Prince Hal has had a special part in my heart for a long time. Just an interesting character to me. And I’ve always wanted to do Sam Shepard’s True West with my brother Stafford. But to be honest my passion lies in playing new characters. I love new work. I love working on new plays. I love incepting new characters.

JAMES

What is it that fascinates you about the creation of new work?

JOE

It’s alive. Reprising old work is alive too. You can always look at something through a new lens. But having the ability to take new interesting voices from our communities that are speaking about current contexts and being able to explore that in a way where it’s not going up against an existing benchmark that’s already there or trying to contextualize something from another time into this time I find really exciting. I think there are so many unique interesting Canadian – Calgarian – Albertan voices. And every time I see these new works at any festival or on the larger stages I find it thrilling. Workshopping or acting in a new play in any sort of capacity or a new movie is my passion for sure.

JAMES

That’s where your heart lies, does it?

JOE

Part of it. But it’s always fun to go and see iconic characters. Everybody knows Jekyll and Hyde or Hamlet and the question is how can I authentically bring myself to this role? How can I make it something that’s current and something that’s interesting and something that says something that nobody else could have because so many people have said their own thing with it already? So that’s been a lovely challenge and something I always welcome. And I’m really proud of the work, and I’m really proud of the room, and I’m really proud of all of the people that are involved in this production.

***

VERTIGO THEATRE presents

The Strange Case of Dr. Jekyll and Mr. Hyde
By Robert Louis Stevenson. Adapted by Nick Lane
Four actors bring Robert Louis Stevenson’s gothic horror to life.

The Strange Case of Dr. Jekyll and Mr. Hyde features Joe Perry as Dr. Jekyll/Mr. Hyde, Daniel Fong as Hastings Lanyon, Allison Lynch as Eleanor Lanyon, and Grant Tilly as Gabriel Utterson with Bernardo Pacheco and Tiffany Thomas as Understudies.

The Strange Case of Dr. Jekyll and Mr. Hyde is written by Robert Louis Stevenson and adapted by Nick Lane. Directed by Javier Vilalta, Set Design by Lauren Acheson, Costume Design by Ralamy Kneeshaw, Lighting Design by John Webber, Sound Design, Composition and Musical Direction by Kristin Eveleigh, Dialect Coaching by Laurann Brown, Fight & Intimacy Direction by Brianna Johnston, Stage Management by Laurel Oneil, Ashley Rees and Caaryn Sadoway.

Magic Lies: An Evening with W.O. Mitchell – Interview Nathan Schmidt

Posted on September 27, 2023October 27, 2023 by James Hutchison

Nathan Schmidt as W.O. Mitchell in the Rosebud Theatre production of Magic Lies: An Evening with W.O. Mitchell.

Magic Lies: An Evening with W.O. Mitchell is a joyful, fun, and feel-good night at the theatre all brought to life on the Rosebud Theatre’s Opera House stage in a brilliant performance by Nathan Schmidt.

Based on the works of W.O. Mitchell and penned by his son and daughter-in-law, Orm and Barbara Mitchell, the play weaves together an entertaining and insightful script that travels between Mitchell’s fiction and the story of his life.

Mitchell was a writer, performer, and teacher who is best known for his 1947 novel Who Has Seen the Wind. The novel beautifully captures small-town life and the world as seen through the eyes of a young Brian O’Connal growing up on the Saskatchewan prairie. Mitchell is also known for his Jake and the Kid stories which were popular radio plays during the 1950s. No stranger to the stage himself W.O. Mitchell was a storyteller who performed his one-man shows across Canada and penned several plays for the stage including The Kite, The Devil’s Instrument, and The Black Bonspiel of Wullie MacCrimmon.

I contacted Orm Mitchell to talk with him about his father’s work and the journey Magic Lies: An Evening with W.O. Mitchell took to reach the stage. You can read that interview by following the link above. I also spoke with Nathan Schmidt to talk with him about the production and the challenges of performing a one-man show.

JAMES HUTCHISON

What was your reaction when you first read the script and knew you were going to be playing W.O. Mitchell?

NATHAN SCHMIDT

I’ve done a couple of W.O. Mitchell shows. I’ve been in Jake and the Kid, and I’ve done The Kite twice, so lots about the script felt familiar, and I had experienced W.O.’s writing. So, I knew that he was funny, but the scarier thing was I thought, “Oh, man, I’ve got to play this real person who people know.” Whereas Daddy Sherry or Jake – those are characters. Those live in the imagination. It’s a different thing when somebody lives in the real world. And Morris Ertman our Artistic Director would say “When we open Magic Lies: An Evening with W.O. Mitchell all the family is going to come and watch the show.” And I was like, “Oh, my gosh. I’m going to have to play the father or the grandparent of these people in the audience.” So that was the most intimidating thing.

Morris Ertman and Orm Mitchell Opening Weekend Talk Back of Magic Lies: An Evening with W.O. Mitchell
Barbara and Orm Mitchell
Orm and Barbara Mitchell at Chapters Book Signing
75th Anniversary Edition of Who Has Seen the Wind by W.O. Mitchell. Illustrated by William Kurelek. Available from Freehand Books.
W.O. Mitchell

JAMES

Even a one-man show needs a director. For this show, it was Karen Johnson-Diamond. How did the two of you work on the play? What was that process like?

NATHAN

As an actor, Karen has done a number of W.O. Mitchell plays. I think she had been in Who Has Seen the Wind and Jake the Kid and she had a love of W.O. Mitchell as well. So, she came in with a lot of love for the stories and a lot of knowledge about W.O. Mitchell. But she’s also just a wonderfully comedic actor and performer, and so her sense of comedy and her sense of how this thing would play was really just spot on. And all of the direction that she offered to me was really helpful to clarify the joke and to clarify how the show moves forward.

What she really loved about the structure of the play is how it follows him through his life from like six to seven when he loses his father – to ten to eleven – to high school – all the way through to Daddy Sherry and misses a bit of the middle, because as W.O. Mitchell says in the story – he’s kind of focused on the first part of life and the end part of life. Those are the concentrated bits that it seemed his imagination was drawn to.

So, we would do a lot of work with linking. Linking how this story moved to this story and then to this story. And W.O Mitchell had a way of making it feel like it was all sort of off the cuff, but in the end, it was all very planned, and he was coming back to stuff he’d set up earlier and he had really worked out how the punchlines worked and how the ideas and stories came around. So, we did a lot of work like that to try and get into the head of the writer and the storyteller. It was a great process. She was wonderful.

The Kite – Rosebud Theatre – 2019
The Sunset Limited – Rosebud Theatre – 2016
Freud’s Last Session – Rosebud Theatre – 2014
Doubt, A Parable – Rosebud Theatre – 2014
Fiddler on the Roof – Rosebud Theatre – 2008
Man of La Mancha – Rosebud Theatre – 2009
The Spitfire Grill – Rosebud Theatre – 2017
A Christmas Carol – Rosebud Theatre – 2020 & 2021
The Diary of Adam & Eve – Rosebud Theatre – 2011
Oliver! – Rosebud Theatre – 2010
Damien – Rosebud Theatre – 2018
The Drawer Boy – Rosebud Theatre – 2006
May & Joe – Rosebud Theatre – 2011
The Secret Garden – Rosebud Theatre – 2010
Jake and the Kid: Prairie Seasons – Rosebud Theatre – 2011
Underneath the Lintel – Rosebud Theatre Production – 2013
The Kite – Rosebud Theatre – 2005
The Lion, The Witch And the Wardrobe – Rosebud Theatre – 2014
An Inspector Calls – Rosebud Theatre – 2016
Stones In His Pockets – Rosebud Theatre – 2022
The Trip to Bountiful – Rosebud Theatre – 2023
Cotton Patch Gospell – Rosebud Theatre – 2013
It’s a Wonderful Life: The Radio Play – Rosebud Theatre – 2013
Nathan Schmidt as W.O. Mitchell in the Rosebud Theatre production of Magic Lies: An Evening with W.O. Mitchell.

JAMES

This is your 50th performance on the Rosebud stage and so I’m wondering when you look back on all the parts you’ve played do some of those characters have a lasting influence on you in any way?

NATHAN

Yeah, there’s a couple that really stick – that I learned a lot about myself from and sometimes that’s uncomfortable. I was in Doubt by John Patrick Shanley and that was a really uncomfortable play for me to be in. It taught me a lot about who I am when I’m helpless and so those things kind of stick. The character teaches you something about who you really are because your instincts as a person are either in conflict with the character or line up with the character in ways that are surprising. That was a big one. I did a Cormac McCarthy play called The Sunset Limited and that was also another hard one.

As W.O. Mitchell says, those characters marked me. And I think the thing I love most is the relationship that characters create with the audience. One of my favourite things I ever got to do was The Drawer Boy by Michael Healey. I was playing one of the farmers. In The Drawer Boy, this young kid comes to hang out at the farm and find out about these two old guys. It was an older character, and I was younger, and I was really worried because it didn’t feel real. I didn’t feel in it, and I was really up in my head about it and nervous, you know, that I was a fraud or I was going to fail, and then one of the things that actually cinched me into it was – I don’t remember how it came about – but maybe it was offered by Morris and he said, “Here’s a toothpick. Just chew on the toothpick for the whole show.”

And so, I would have these toothpicks in the show, and I just chewed on this toothpick the whole time, and it helped me feel like that cranky grumpy guy in that story. Well, you know, a bit later – after the run, I got a little blue index card in the mail and on it was glued a toothpick, and on the backside, this person had written, “We attended the show and your Morgan was like seeing my grandfather alive again, and he passed away in 80 whatever.” She was so clear that she had an experience of seeing her grandpa that day, and I was able to offer her unbeknownst to me an experience like that. And so, you know that play holds a special place for me too because of that story. It’s quite a lovely play.

W.O. Mitchell reading at Trent University

JAMES

W.O. Mitchell perfected the technique of appearing not to be performing. To be spontaneous and to appear as if he was telling the story for the first time. So, he’d draw his audience in through deliberate mistakes or confusion, he’d say, “Oh, did I tell you? Or I forgot to mention.” And in your performance, you totally capture that sense of spontaneous and unrehearsed storytelling. So much so that my son heard a couple of ladies leaving the theatre and they enjoyed the show, but they remarked that they were surprised that you seemed to lose your place and had to go back. Which means to them it was completely natural. So, to me you’re one of those actors who really achieves a feeling of reality in your performance no matter what part you’re playing. That’s a long speil just to ask, how do you do that?

NATHAN

Morris said this the other day and I think it’s true. I think when we get curious about people then we kind of fall in love with them. And I think it’s true of the characters we play, and I think in the rehearsal there is something about just falling in love with the reality of whoever they are and whatever drives them. You’ve heard it said that one of the actor’s adages is don’t judge the character even if you’re a villain. Villains are motivated by what they believe to be true or good or at least by what is in their best interests.

And I think the actor’s job overall – and W.O. Mitchell did this in spades too – is to collect people. To watch people and to observe what they do and why they do it without judgment and to allow them to steep into you and to become part of you and the energy of being them and how they participate in the world. It’s partly that and it’s partly just having fun. It’s just fun to try and make it as real as possible.

St. Sammy and Brian: St Sammy calling down the wrath of the Lord to smite Bent Candy's new red barn. Illustration by William Kurelek from 75th Anniversary Edition of Who Has Seen the Wind — Saint Sammy and Brian: Saint Sammy calling down the wrath of the Lord to smite Bent Candy’s new red barn. Illustration by William Kurelek from the 75th Anniversary Edition of Who Has Seen the Wind. Available from Freehand Books.

JAMES

You know, it’s interesting that you mentioned fun, and I think W.O. Mitchell is able to capture the feeling of childhood and play and imagination and curiosity. What are your thoughts about the child within you in terms of that living in you as an actor?

NATHAN

I have three kids now and when I watch the four-year-old and two-year-old play for them every game is real. They just believe it. My little guy just thinks he’s the Flash. He thinks he’s the fastest thing going and so he’ll be like, “Watch this Dad.” And he will just run through and he’s like, “You didn’t even see me, did you.” And I remember as a kid wearing my North Star Velcro runners and those are the fastest shoes, and I can run so fast in my North Star shoes because they’ve got shooting stars on them and that makes my feet fast. And I believed it to be true.

Our adult logic brains know it’s not true, but it could be in your imagination. And the audience does the same thing. They all know they’re not seeing W.O. Mitchell. Karen said, “Nobody’s coming to see the actual W.O. Mitchell. They’re coming to have an experience of W.O. Mitchell and if we deliver it in a way that doesn’t give them any reason to doubt too much – then the audience will let their imagination see me as him.” And so, you know, I think our imagination is a remarkable and amazing gift, and I think as creatives we may access it a little bit more at times, but it’s there for everyone. They just have to access it.

JAMES

This is storytelling at its simplest and best. One actor. Minimal set. What is it like for you as a performer doing a one-man show? How do you create that connection with your audience?

NATHAN

I’ve done a number of one-person shows now and it gets to be a lonely room as opposed to having one or two other people or a group of actors to hang out with. It can be lonely in that way, but the audience really becomes the best friend of the show. And especially in something like this where it’s such a direct address. The whole point of the show is the relationship of the storyteller to the audience. At the end of the play, W.O. says that this is the thing – the energy of a live audience responding to a story – that’s where it’s at.

And for me, that is where it’s at. I love that relationship. I’m always curious about it and excited about it. Sometimes puzzled by it, you know, sometimes it lands really well, and people just explode with laughter and sometimes they don’t, and you can’t put together all of why that is, but people get to be who they are and so it’s a really lovely sort of bond that I’ve come to love about performing. And that’s the amazing thing about storytelling in theatre. And at the end of the play he says,

“You know…the energy of death lies behind everything I’ve written—it’s death and solitude that justify story telling. Telling stories draws us human aliens together in the mortal family, uniting us against the heart of darkness, defending us against the terror of being human. Writing’s a lonely act—like playing a dart game with the lights out. You have no idea whether your darts are coming anywhere near the bull’s-eye. But this (open handed gesture to audience)…this dilutes the darkness, gives me what all stage performers love—that immediate thrust of a live audience responding to story magic. (Looking out to audience, grins). We were flying tonight!”

The Syringa Tree at Rosebud Theatre – Interview with Katharine Venour

Posted on July 21, 2023September 4, 2023 by James Hutchison

Katharine Venour in the Rosebud Theatre production of The Syringa Tree. — Katharine Venour in the Rosebud Theatre Production of The Syringa Tree by Pamela Gien. Directed by Morris Ertman. Photo by Morris Ertman.

The stage lets us travel to other times and places and this summer Rosebud Theatre is taking audiences on a journey to South Africa during the time of Apartheid in Pamela Gien’s 2001 Obie Award-winning play The Syringa Tree. Apartheid was an institutionalized system of legalized racial segregation between South Africa’s white minority and nonwhite majority that existed from 1948 until the early 1990s.

Katharine Venour plays twenty-two different characters in a one-woman show that tells a story about two families – one white and one black – caught in the grips of a system where the colour of your skin determines your place and opportunities in South African society. The primary narrator of the story is Elizabeth the six-year-old white daughter of Isaac her Jewish father and Eugenie her Catholic mother. In the play her nanny Salamina secretly gives birth to a daughter she names Moliseng. Elizabeth’s family and Salamina’s family are forced to hide and protect Moliseng from the authorities and other members of the community. Although the story contains tragic events the play ultimately delivers a message of love and hope.

The Syringa Tree is a powerful story told on an intimate stage in a brilliantly directed production by Morris Ertman that mixes a simple set with sound and lights to create a world where Katharine Venour delivers a compelling and deeply moving performance. I contacted Katharine after seeing the show to ask her some questions about her approach to acting as well as questions about the play including how seeing the story through the eyes of a child impacts how the story is told.

JAMES HUTCHISON

What do we mean when we say that an actor’s job is to serve the story?

KATHARINE VENOUR

I think the story is the most important part of the theatre experience. The story is everything. And the actor’s job is to speak the story, speak the words as truthfully and powerfully and clearly as possible and to bring that story to life for an audience.

Most professional actors go through a 4-year training program – either at a university or an acting school – to train their bodies, voices, hearts, and minds to become good instruments in the telling of story. As an actor, my goal is to be the best storyteller that I can be.

I believe that an actor is engaged in an act of service when she takes on a role. You are serving something bigger than you. Your job is to lift up and embody the words and character and vision that the playwright has created for you on the page. The playwright has woven a world, and as an actor I need to figure how I fit into the world and vision of the playwright.

Words are at the heart of the theatre and they can be the conveyors of truth and beauty. I want to speak those words in a truthful and compelling way for an audience, and that takes technique and imagination and inspiration. These are tools that an actor learns and hones in an acting program and throughout one’s career.

Many actors continue to take workshops with master teachers throughout their careers to continue to grow and improve as artists. It’s a life-long craft and process that requires humility and courage. For me, the best way I take it on is to know that it’s bigger than me. That makes the work meaningful.

Katharine Venour in the Rosebud Theatre Production of The Syringa Tree by Pamela Gien. Directed by Morris Ertman. Photo by Morris Ertman.

JAMES

How much do you think an actor’s performance is based on analysis and reason and how much do you think is based on instinct? Or maybe how do those two things mix when you’re working on a part?

KATHARINE

Yes, this is a great question. I think critical analytical skills in reading a play as well as instinct and gut response are all valuable and crucial for me as an actor.

During my acting training at the University of Calgary, acting students were required to take courses on theatre history where we read three plays a week and analyzed them. I think this was great for me as an actor – and also coincided with my love for literature which I continued in my graduate literature studies at UBC – so I loved it.

I think learning about themes, imagery, character relationships, conflict and the overall structure of a play – as varied as that can be – is so helpful to me as an actor and fires up my imagination and helps me to understand the vision of a playwright and then the director and how I can bring the character I play to life.

But instinct and that gut reaction and the way a play calls to you as an actor are also powerful tools for the actor. For me, I have to feel a heart connection to a story. And I don’t really know how to explain that except that I feel like I want to be part of the story. I want to be a part of speaking it into the world because it is meaningful to me and I connect emotionally or spiritually to it. And in the acting moment on stage, you learn as an actor how to follow your instincts for playing a scene or a moment. For me, the physicality of the character and the voice are significant places where I start and where I really live as an actor onstage.

I think this is why I’m so drawn to and fascinated by athletes. I think acting is about action – doing – and figuring how the body communicates. You want to embody a character and that requires attention and figuring out what the physical life is for the character moment by moment. Once you figure that out, acting is very, very liberating and free.

JAMES

Let’s talk a little bit about the play you’re currently in – The Syringa Tree. The play starts in 1963 and is told for a large part by Elizabeth a young child living with her parents in South Africa during Apartheid. It’s always an interesting choice to have a story told from a child’s perspective and I’m curious what you think having that viewpoint brings to the telling of the story.

KATHARINE

Well to begin with, the play is based on the playwright, Pamela Gien’s, experience as a child growing up in South Africa. Though most of the characters are fictional, they are shaped and informed by her life as a child. So, there is that somewhat autobiographical element to the choice of speaking the story through a child as Gien herself was a child growing up in South Africa during apartheid, and this is her story.

Also, the choice of telling this story through a child is a powerful way for an audience to connect to and empathize with the main character of the play, who is an innocent. Her naivety leads her to report what she sees, and she doesn’t judge or have the skills of an adult to fully process them. We see her experience and begin to work things out.

Lizzy is also an imaginative and emotionally open child, and so it’s fascinating to see into her world. We see her powerful love for her black nanny, Salamina, and Salamina’s child, Moliseng. And that relationship is at the very heart of the play.

The play is, in part, about family – two families who cross racial divides to bond with one another. Two mothers. Two children. And we see how their lives are intertwined even when living in a brutally divisive and dangerous apartheid society that actively and in the most authoritarian way seeks to divide them. In the telling of her story, Lizzy conjures up, as an imaginative child would do, the people who had a profound impact on her.

Having the main character as a child, also allows the play to gesture towards the invisible world of imagination, and then also to the invisible world of faith or the miraculous as moments of grace subtly break through into the characters’ lives at different moments in the story. The things we cannot see are given a part to play in this story.

JAMES

You’ve worked with Morris Ertman the director of the show many times before but this is your first time working out here in Rosebud. And in The Syringa Tree, you’re portraying over twenty different characters. So, I’m curious about a couple of things. First, how would you describe your working relationship with Morris and second, what was the process like as the two of you lifted this story from the page to the stage and brought it to life?

KATHARINE

It is always a gift for an actor to work with a director you know really well. Morris is just brilliant at so many aspects of directing. He understands narrative and identifies the heart of a story. He communicates very well with me and he understands me as an actor. He knows sometimes I just need to work out a moment and he gives me the space and time to do that.

He is rigorous and clear about keeping the acting “grounded” – that means finding the psychological and emotional and physical reality of a moment or scene and that it is a real gift to an actor when a director can articulate that so clearly and in a way that inspires. He is specific and he is very generous in filling out the thoughts and feelings of a moment so that it makes sense for the actor.

He can see when something isn’t clear and he was particularly insightful in this process at bringing a clarity to my flips between characters in an elegant way that also allows the story to spill out and gives the blocking – the movement of the piece – a real natural flow that one can follow and understand.

Morris is passionate about the telling of story in a way that is authentic and true to life, rewarding for an audience, and he does this with great kindness to his actor. And besides his deep understanding of the acting process, he also knows how to weave sound and lights within the acting moments so beautifully. That has been particularly powerful in this production where the sound and lights create a world that we can imagine and feel.

Morris also has a great sense of humour so we have good laughs too, and the rehearsal hall is a place where the rigour of our work gets done in a joyful way.

JAMES

I love small intimate theatre spaces like the Rosebud Studio Stage because I find these types of spaces are particularly compelling for telling stories. Small gestures and a change in voice or a moment of silence seem to have a bigger emotional impact since you’re not trying to reach the second balcony as you would in a large theatre space. How do you think the Studio Stage – lends itself to the telling of this story and this production of The Syringa Tree?

KATHARINE

Yes, I love intimate theatre spaces too – as an actor and an audience member. It allows for an intimacy between performer and audience member and that really serves this story. The smaller space gives the audience that wonderful experience of being very close to the performer and seeing every nuance – like a close-up in a movie. I’ve worked a lot on “alley staging” which is the stage formation for our production and where the audience sits on both sides of the playing space. I really like alley staging as it feels natural to me and allows me to use the whole space for movement as I’m working every side of the stage. It’s great for a one-person show as well as it provides a lot of visual variety for the audience.

JAMES

When we look at the story and its depiction of Apartheid, I think it not only shines a light on South Africa and its racial policies at the time but it makes us reflect in a bigger sense on Man’s tendency to oppress and divide throughout history. Every nation including our own has examples of these kinds of attitudes and behaviour. What do you think the story has to say about those aspects of humanity?

KATHARINE

Yes, humans dominating humans has certainly been a part of the history for many nations and it is good and healthy, though difficult, to reflect on that. But there are also examples throughout human history of moral frameworks which challenge bigotry, discrimination, and the will to dominate and instead encourage us to see all humans as integrally connected and valuable.

Christian scriptures, for example, teach that all humans are created in the ‘image of God’ and every human being has an inherent, intrinsic value that should be cherished and honoured. One of the commandments Jesus gave was to love one’s neighbour as oneself. The ancient South African philosophy of Ubuntu also shares this view of the interconnectedness of all human beings. According to Ubuntu philosophy, if a person hurts another person, they also hurt themselves. Systems like apartheid create a twisted and disturbed society that does not reflect what I see to be the fundamental human spiritual impulse towards love and connection – that ‘image of God’ planted in us.

The play reveals characters who struggle against division and oppression and towards loving relationships across racial lines. In that, it expresses something very deep and true about who we really are as humans and what we really long for in life, while not shying away from or minimizing the evil that we are capable of. The human spirit is strong, and I believe that when we acknowledge a power greater than ourselves – that is God – we can really live into our true calling by helping and loving others. And that way of being human aligns with the ‘image of God’ in us. For me, the play reveals that divine calling for humanity and in a haunting and beautifully subtle way gestures towards moments of grace and the invisible realm of the miraculous, as well as portraying the strength and perseverance of the human heart to overcome seemingly insurmountable obstacles.

JAMES

You make your home in Vancouver now but you grew up in Calgary and lived in Priddis and went to the University of Calgary where you studied with Grant Reddick a well-known actor and teacher in the Calgary theatre community and so you have a history here – this was once home and so I’m wondering what’s it like to get a chance to perform on the Rosebud stage and share this story?

KATHARINE

It’s so lovely to be staying in Rosebud and performing in this beautiful play on their Studio Stage. It’s a one-woman show, but really I feel like the whole creative team is up there onstage with me. Luke Ertman has created an exquisite sound design and Brad Graham a beautiful lighting design and those elements of sound and lights feel like acting partners to me as they are so beautifully woven into the story by my director, Morris Ertman.

My costume is designed by Amy Castro and I love it as it moves with me through the portrayal of 22 different characters. The set I play on was built by Mark Lewandowski and scenic painter Cheryl Daugherty, creating an intimate space for me and the audience to explore the life of this play. My stage manager, Shannon Klassen, is the only other human who accompanies me on this journey, besides every member of the audience, and I am so grateful for her diligent and exacting work.

And then, of course, there is the playwright Pamela Gien whose words and wondrous story I am given to embody when I walk on stage. Theatre is always a collaboration of many artists, regardless of how many actors appear onstage, and I am so grateful to be surrounded by such gifted designers and artists here at Rosebud. The people of Rosebud are kind and hospitable, and it is also such a delight to be surrounded by the natural beauty of the land every day I walk to the theatre.

Vancouver has been home for me for 30 years now, and I have had beautiful professional opportunities there and great friendships. It is really wonderful to see my friends from Vancouver travel out to Rosebud to see the show – like two worlds – two homes – coming together.

And Alberta will always feel like home to me too. My husband and I and my two boys have travelled to Alberta every summer for the past 23 years to visit family. My parents spent 60 years of married life in Alberta. Both have died now – my Dad last Spring – so performing in Alberta this summer has a poignancy to it. I know my parents would be delighted that I am here on stage as they always supported my acting dreams and career. I have an enduring connection to Alberta.

I am forever grateful to my acting teacher and mentor, Grant Reddick, for his friendship and giving me such a strong and powerful foundation for acting when he taught me at the Theatre Department at the University of Calgary. He has been one of those people who has profoundly formed me.

This play is about home, as well as the deep bonds and influences that certain people have in one’s life and growth, so I resonate with that as I certainly feel the deep and loving influences of my parents, my family, my friends, my colleagues, and my teacher, Grant, in my life. The play also speaks to one’s connection to the land, and I feel that in Alberta. The prairies and the people of this province will always be a part of me.

The Trip to Bountiful at Rosebud Theatre – Interview with Judith Buchan

Posted on April 18, 2023May 20, 2023 by James Hutchison

Rosebud Theatre’s production of The Trip to Bountiful by Horton Foote is a rich and rewarding story about love, family, regrets, and hope all brought to life in a wonderful production that provides audiences with a memorable and highly entertaining night at the theatre.

Bringing the play to life is a terrific cast including Judith Buchan as Carrie Watts, Nathan Schmidt as Ludie, Heather Pattengale as Jessie Mae, Rebbekah Ogden as Thelma, and Caleb Gordon and Christopher Allan each playing multiple roles. The production is expertly directed by Morris Ertman who also designed the sets.

Judith Buchan as Carrie Watts in the Rosebud Theatre production of The Trip to Bountiful by Horton Foote. Photo by Morris Ertman.

All Carrie Watts wants to do is return to her childhood home of Bountiful but without money and being an old woman living with her son Ludie and his wife Jessie Mae her dream of returning home isn’t going to be an easy task to accomplish. She’s tried it before and failed but this time she’s secretly been making plans and preparations, and no one is going to stop her.

But she’s not the only one dealing with life’s difficulties. Ludie and Jessie Mae have had their own regrets because sometimes careers stall and stumble or our hopes for a family don’t work out the way we planned. In the end, all three characters have to figure out how to come to terms with life’s regrets and move forward.

After seeing the show on opening weekend, I arranged an interview with Judith Buchan to talk with her about the play and her portrayal of the feisty and determined Carrie Watts.

JAMES HUTCHISON

So, I saw the play and you know, we talk about the magic of theatre but the true magic of being deeply moved and at times getting lost in a play doesn’t happen very often. It’s a rare experience. But your production had that magic. And I wonder how much of that magic do you sense on the stage and what’s it like to be in a production that has the power to move an audience.

JUDITH BUCHAN

It’s beautiful to hear that actually. I am not sure how much I can sense that. I mean obviously we’re hoping to do justice to the material. Trying to connect and trying to find the truth and the honesty in these people the best we can. And with Horton Foote’s writing nothing is wasted. I go through the whole script every day before I perform it because it is so beautifully written that you do not want to stray from it in any way. And the more I study it, the more I realize nothing is wasted and everything comes back to a payoff at the end, and everything does connect in some way.

In some ways, it’s a little story. My daughter, Rachel, has a great description of this play. She says it’s about an inch wide and about a mile deep. And that really touched me because it’s not as if big things happen yet huge things are happening between the characters. Relationships are being altered in big ways and their eyes are being opened in deeper and more meaningful ways about themselves and each other. I had seen The Trip to Bountiful myself on Broadway with Cicely Tyson playing Mrs. Watts and I was deeply moved by it.

Production still - Heather Pattengale as Jessie Mae and Nathan Schmidt as Ludie in the Rosebud Theatre Production of The Trip to Bountiful by Horton Foote. — Heather Pattengale as Jessie Mae and Nathan Schmidt as Ludie in the Rosebud Theatre Production of The Trip to Bountiful by Horton Foote. Photo by Morris Eartman.

JAMES

It’s a play filled with ghosts because the people in it are mature characters. And I personally like plays about older characters and characters that have known each other for a long time. I just usually find those more interesting. There’s history there that includes tragedy and happiness, and that informs the relationships in the present. Tell me about your character and her journey, and why do you think all the characters in this play are so compelling?

JUDITH

Horton Foote just has the gift of writing simply but just so deeply. I had a lot of great aunts that were very powerful women and very resilient and strong and opinionated and who lived really complicated lives. And I’ve kind of been thinking about them while doing the play. My own mother loved this story, and she did say to me once you could play that part. I hadn’t actually thought of that before she said it, and she died last November so it’s been very poignant for me to be in a play and playing a character that I know she loved.

I think my character and the other characters in the play remind us of people we know. And Carrie loves her son even though his life has been a mess because of an illness. And she adores him so much and he adores both his mother and his wife Jessie Mae. And what would you call her? Well, she’s a strong flavour – Jesse Mae. Just a powerhouse of a person and loving her husband so much and she’s living in a time when she can’t really be more than what she is. And my daughter who really loves this play said Jessie Mae would’ve been a lawyer if she lived now. She’s smart but she’s kind of trapped looking after her mother-in-law and so what can she do?

I think you see the frustrations of the characters really, really well, the things they’re fighting against. And I just think there’s so much truth in the play about how we treat our elders. And I think it’s kind of unusual to have this senior lady being the one taking the journey and I love that.

Judtih Buchan as Carrie Watts and Nathan Schmidt as Ludie in the Rosebud Theatre Production of The Trip to Bountiful by Horton Foote. — Judith Buchan as Carrie Watts and Nathan Schmidt as Ludie in the Rosebud Theatre Production of The Trip to Bountiful by Horton Foote. Photo by Morris Eartman.

JAMES

Let’s talk a little bit about the production itself. I’d love to hear what it’s like to work with Nathan and Heather and bring this story to life.

JUDITH

I’m so fortunate. I’ve worked with Heather a few times before and so we already start at a place where we know each other and are comfortable with each other and love each other. So, it’s just fantastic. And Nathan and I haven’t really worked with each other but thirty years ago I taught a few courses here and I would come in from Olds and teach and he was a young student then. And you know its so good to see him mature and become such a fine actor and stay in Rosebud and put his roots down and contribute here and teach. So, it’s really been fun to be on stage with him.

And Rebecca was a student from here and she’s doing all kinds of things and she is just darling. And for her to be the stranger I meet on a bus…I mean how blessed am I to meet Rebecca on the bus every night and have to tell her my life story? And Caleb and Christopher they’re just great having to play several different roles and having to move all the backstage stuff so that things roll in smoothly and roll out smoothly. I agree with Morris our director that on this small stage not having a blackout and instead having everything moved around so smoothly works better and I just love the way that’s done. And I just find the music so beautiful that it almost makes me cry sometimes.

Production still of the Rosebud Theatre production of The Trip to Bountiful by Horton Foote. Phot features Judith Buchan as Carrie Watts and Rebbekah Ogden as Thelma. — Judith Buchan as Carrie Watts and Rebbekah Ogden as Thelma in the Rosebud Theatre Production of The Trip to Bountiful by Horton Foote. Photo by Morris Eartman.

JAMES

Yeah, there’s not a production element that doesn’t work. From an audience point of view, the transitions between scenes are seamless. They dovetail beautifully. It’s like a dissolve on stage.

So, the main character is Carrie Watts. She’s older. She’s looking back at her life, and so, I’m curious about you and your thoughts about growing older and reflecting back. What’s that like?

JUDITH

It’s quite an experience to be able to play this woman and reflect back on my own life. I find certain things that she says really get to me like when she says she wants to know why her life has become so empty and so meaningless. That really gets to me every time because I think people feel that way quite often. And it’s just heartbreaking to have a lot of regrets and I think you can reach an older age and really be so full of regrets. And I can relate to her sometimes. I had one child, so my table isn’t full at Christmas or Easter, but I have great friends.

And in the play Carrie teaches me that you need to be thankful for what you have and whatever you have is enough and maybe we need to really be listening to that. So, I just think it’s really hopeful and helpful to see an older person take stock and admit she has regrets, and then manage to go past that and she sees that she gets her strength not from a house or from people but from the ocean and from the beauty around Bountiful.

Nathan Schmidt as Ludie, Heather Pattengale as Jessie Mae, and Judith Buchan as Carrie Watts in the Rosebud Theatre Production of The Trip to Bountiful by Horton Foote. Photo by Morris Ertman.

JAMES

So, I’m curious to know what you think theatre can offer a modern audience in this age of TikTok.

JUDITH

Well of course, it’s the shared community experience that we were deprived of for the years during Covid. Sitting together in a room and laughing together or crying together and watching something happen in real-time right in front of you. You know, it’s a shared thing that I think is ancient and powerful.

And at Rosebud walking home from a show under the stars and the northern lights and hearing the coyotes in the distance keeps you very grounded in the land and the earth. And having a theatre school here and a community of theatre artists here there’s a big commitment to honesty in the storytelling which you know, most theatres would go along with, but I think somehow because this is an earthy place, I buy more into the honesty. And somehow Rosebud manages to find the essence of the shows they produce and so I enjoy what happens at Rosebud very, very much, and I’m so privileged to be able to work here.

Interview with Griffin Cork – Actor, Producer, Filmmaker

Posted on October 26, 2020November 23, 2024 by James Hutchison

Griffin Cork
Photo by Tim Nguyen

When I was eighteen I was freaking out about paying for theatre school and doing this career because I’d been told how hard it is and there are so many unknowns, and my dad sat down beside me, and he was quiet for a moment, and then he put his hand on my back and he went, “Do the thing that you want to do until you don’t want to do it anymore. And then find something else to do.” And I stopped freaking out. And of all my mentors, that sentence is the best piece of advice I ever got, because you wouldn’t want to be forty and going, “God, I wish at eighteen I’d gone and done what I wanted to do.”

At twenty-four Griffin Cork has already stacked up an impressive list of film and theatre credits and several awards that illustrate his artistic talent, hard work, and dedication. In 2017 The Alberta Foundation for the Arts named him one of the top 25 Young Artists in the province, and in 2020 he was one of ten recipients of a Lieutenant Governor of Alberta Emerging Artist Award.

Griffin has worked extensively on stage appearing in productions for Theatre Calgary, The Shakespeare Company, Lunchbox Theatre, and Birnton Theatricals. He made his film debut at the age of twelve alongside Matthew Perry in the feature film The Ron Clark Story and can currently be seen in the Alberta produced Abracadavers by Numera Films which is available on the Fantasy Network and Amazon Prime.

Griffin is currently working on several film, television and theatre projects while also launching and co-hosting The Breakfast Dish Podcast along with his mother Karen Johnson-Diamond. The Breakfast Dish offers listeners get-to-know-you conversations with a variety of artists creating dance, music, visual art, and theatre online.

I contacted Griffin over Zoom back in July and we had a far-ranging conversation about theatre, acting, Dungeons and Dragons, and his experience at Alberta Theatre Projects as part of the D. Michael Dobbin Apprenticeship Program.

GRIFFIN CORK

I heard about the D. Michael Dobbin Apprenticeship Program at ATP and I applied and got in and it was phenomenal because you are cycled through almost every department at the theatre. So, my first couple of weeks were in props and costumes. And then, marketing, and then play development, and fundraising, and youth education and outreach. And as part of the apprenticeship, you get to assistant stage manage a show during the ATP season, and I worked on the Last Voyage of Donald Crowhurst with Ghost River Theatre.

My stage management team was Jen Swan and Patti Neice, and I had an appreciation for the acting side of production, but I don’t think I had a full appreciation of stage management until that show, because Ghost River Theatre Shows are very tech-heavy. I think Jen was working with something like a thousand to fifteen hundred cues and there were a million props. It was very Brechtian, and the audience sees everything working. That gave me such an appreciation and love for stage managers everywhere.

Braden Griffiths in Alberta Theatre Projects’ production of Ghost River Theatre’s The Last Voyage of Donald Crowhurst. Photo by Benjamin Laird. Set and Costume Design: Patrick Du Wors. Lighting Design: Kerem Çetinel. Sound Design and Video Technology: Matthew Waddell. Video Design and Technology: Wladimiro A. Woyno Rodriguez.

JAMES HUTCHISON

Talk about being thrown into the deep end.

GRIFFIN

Totally and you know, Eric Rose and David van Belle from Ghost River Theatre and everyone were as accommodating as they could be. But because of the nature of that show and how intense it was no one really had the chance to sit down and explain things. Which is also kind of how I prefer learning anyway is trial by fire. I like going in and figuring it out in the moment. That’s how I learn best. When there’s a little bit of pressure.

JAMES

What was that show about?

GRIFFIN

So, basically there’s this British race to sail around the world solo – you don’t bring anybody with you – it’s just you in a boat sailing around the world. And Donald Crowhurst isn’t really a sailor. He’s more of an inventor and things went poorly on the ship.

JAMES

He and several others set off on this voyage and he decided he’d never make it. So, he went down and pretended to be going around the world, but all the time he was just floating off South America. His plan wasn’t to win the race but then everyone else ended up dropping out of the race for various reasons and he was the last one, and he knew that if he finished the race he’d be found out.

GRIFFIN

Totally. He’s faking logs. He’s faking radio check-ins. And the craziest part is the only real evidence we have of his race is his black box entries, his fake logs, and his journals. There’s not actually a clear picture of what happened and what he did and where he went, because eventually he goes absolutely insane. And I can’t remember if this is true or not, but in our adaptation of the story he jumps off the boat and drowns.

The cast of Alberta Theatre Projects’ production of Ghost River Theatre’s The Last Voyage of Donald Crowhurst. Photo by Benjamin Laird. Set and Costume Design: Patrick Du Wors. Lighting Design: Kerem Çetinel. Sound Design and Video Technology: Matthew Waddell. Video Design and Technology: Wladimiro A. Woyno Rodriguez.

JAMES

It’s true that the boat was found abandoned.

GRIFFIN

Yeah, they did find the boat. So anyway, it’s a combination of sea madness, and guilt, and you know everything that he would put his family through if he came back and it was revealed that he faked it. It was an outstanding production.

JAMES

So, looking at that experience, and the people you’re connected with now. How has that helped you in your career making those connections and working on those shows?

GRIFFIN

That’s the number one benefit of the MDA is that it allows you to meet people in the profession. ATP is in the Arts Commons which is Calgary’s central arts building. And so you’re around there all the time working in the office when actors and directors are coming in to pick up their scripts or when you go down to the cafe and get your lunch for the day and you meet people there. It’s a phenomenal networking opportunity.

The cast of Alberta Theatre Projects’ production of Ghost River Theatre’s The Last Voyage of Donald Crowhurst (on screen: Griffin Cork (Apprentice Stage Manager), Braden Griffiths and Vanessa Sabourin). Photo by Benjamin Laird. Set and Costume Design: Patrick Du Wors. Lighting Design: Kerem Çetinel. Sound Design and Video Technology: Matthew Waddell. Video Design and Technology: Wladimiro A. Woyno Rodriguez.

JAMES

Who are some of the folks who have been significant for providing you some guidance and what are some of the key pieces of advice they’ve given you over time?

GRIFFIN

I remember there was a point at the University of Lethbridge where I had to decide between two shows and I called Braden Griffiths who played Donald Crowhurst, and I aspire to have a career trajectory like his and also to be as well-liked as Braden is. He’s a phenomenal actor. He’s a lovely man. I consider him a very close friend, and the best advice he gave me about choosing a role was, “Don’t think about the production, don’t think about the company, don’t think about the money, none of those things matter. If there’s a conflict, you go with the one that serves you artistically at the time.”

JAMES

What role was that?

GRIFFIN

I had to choose between an ensemble part in the UofL mainstage production of Carrie, or a decently larger part in Dennis Kelly’s show DNA but with Theater Extra which is the student company at the University of Lethbridge. It’s about a group of teens that do something bad and then they have to decide how to cover it up and deal with that guilt. I eventually ended up going with the DNA role because it was a little meatier. I’m glad I did. I loved that show so much that my company Hoodlum Theatre produced it the summer after.

Hoodlum Theatre’s Production of DNA by Dennis Kelly
(From L to R): Taylor Sisson, Walker Nickel, Ciaran Volke, John Tasker and Miku Beer
Photo by Griffin Cork

GRIFFIN

And I have to give love to Samantha McDonald. She was one of, and still is one of, my greatest mentors. When she was production manager at Lunchbox Theatre she would look over some of the grants I wrote and she gave us rehearsal space for Hoodlum’s first show. And she took me out to dinner one time and the piece of advice that she gave me was, “There are going to be so many things in this career that try and break you. Don’t let them break you. There are going to be so many things in this career that don’t mean to deter you but will. Don’t let them deter you.” And I think that’s a really elegant and poignant way of saying this career is hard work but it’s possible, and there’s a lot of things that really make it worthwhile.

And my mom and dad are Karen Cork and Kevin Cork. Karen is better known by her stage name Karen Johnson-Diamond. My mother is still an actress and a director, and my father used to be one. He went to Stratford for a few years and I think he had too many productions where he was guard number three and he got kind of disillusioned. So it was like, I don’t want to do this anymore, and now he’s a financial planner. And having someone who has a financial brain in your family, who also knows what it’s like to live on an actor’s budget, is insanely helpful.

Kevin Cork and Karen Johnson-Diamond in As You Like It RIGHT before they got married!

JAMES

How does he allow his artistic side to still get sunlight? What does he do?

GRIFFIN

I’ll tell you, James, him and I have really connected over the past three or four years over Dungeons and Dragons. Which is the tabletop role-playing game and I think the way he gets his creative side out is by being the dungeon master. And in Dungeons and Dragons you can buy books of modules and campaigns to send your characters through, but my dad doesn’t do that. My dad creates his own worlds and rules and settings and characters and plot events. He basically writes a campaign or a quest. And what’s great about it is, if we make stuff up in the session as the characters, he’ll write down the names and what we said and bring them up in a later session. And keep in mind that a lot of Dungeons and Dragon sessions are three to four hours apiece, and campaigns can last from twenty-five to thirty sessions.

JAMES

So, what have you learned from your mom?

GRIFFIN

From my mom I learned kindness, and empathy, and a lot of human values, but if we’re talking career one of the most important things she taught me from a young age is the career and real-life applications of improv. Improv is a phenomenally useful tool for anybody. It teaches you listening, positivity, empathy, and critical thinking. It will literally help you with anything you do, and it’s mind-numbingly useful for acting. A lot of directors like actors that come into the room and can offer a lot of different things on a line or a scene. And that’s what improv is. Improv is having an offer ready.

JAMES

So, I’m wondering when you sit in the audience and you’re watching a show what are your expectations of a production?

GRIFFIN

So, my grandmother, my mother’s mother started seeing a lot more theater after my grandpa, her husband, passed away a couple of years ago. She’d go to the theater and then come home and go to bed and it became like a bedtime story. And a very crucial part of that was because it let her not think about anything else except the story and what was happening in front of her.

She says, “I don’t want to be thinking about my shopping list when I go to a play. If it’s a matinee, I don’t want to be thinking about the thing I have to go to after this matinee. I don’t want to be thinking about any other life event. I want this story to grab my attention. Hold it. And hold it for however long they asked me to be there. An hour. An hour and a half. Two hours. It doesn’t matter.”

And so, for me, I don’t know if there’s any formality or structure or trope or story elements that I have come to expect or demand from a production when I go to the theatre. My expectations have kind of shifted to what my grandmother has described as her expectations, and I think they’re really simple, and I think almost any production can achieve it. “No shopping list,” and that’s a Sandy Moser quote.

Shooting Abracadavers – Photo by Rachael Haugan

JAMES

I know you do some film work so tell me a little bit about how you got involved in film and what you’re working on right now.

GRIFFIN

I started acting in film when I was in grade five, and there was a TV movie coming through town called The Ron Clark Story, and it was about a teacher who goes to this rough and tumble school and has to change things. Matthew Perry, who plays Chandler on Friends, was the teacher, and when he got to this new school the camera pans over to see twelve-year-old Griffin. And I had a rat tail, and vanilla ice lines shaved into the side my head, and a mohawk. And I’m standing in a garbage can. Basically, I was the dumb kid being abused by the teachers. I’m so dumb I have to go stand in the trash. I’m standing in a wastebasket. So, that’s how I got started in film.

And I have a buddy named Josef Wright who I met at Theater Alberta’s ARTSTREK which is a week-long Summer Intensive that happens at Red Deer College. And he was like, “Hey man I’m in film school at SAIT and I’m doing a student film, it’s kind of goofy, do you want to come be in it?” And I was like, “Sure.” And it was about a guy who gets a genie lamp and he’s really lonely and he wishes for a date. And I met the camera operator on that film whose name was Morgan Ermter. And Morgan and Joseph have a film company called Numera Films.

And in 2014 they entered the STORYHIVE Web Series competition which provides winners with funding for the project they’ve entered. And they asked me to be in it, and it was called Abracadavers. So, we did the pilot and sometimes as a film actor you kind of show up to set and you do your bit. You get your cheque. You leave. You’re not usually involved in any of the other parts of the project. But something about the content of this particular project and the people involved and the way they were talking was pretty cool.

And we didn’t win STORYHIVE so I was like, “Okay what are we going to do with it?” And so, we took it to the Banff World Media Festival, and we pitched it to a bunch of distributors and financers. And basically, I just bugged my way into Numera Film. I pestered Morgan and Joe, as much as I could to just let me help out more. And then Abracadavers got funding and we did it for a season and we got a distribution deal. And I really found a lot of joy in film producing just because of how much you are involved. It’s really satisfying. It’s a different feeling to sit in a screening as an actor and then to sit in the screening as the producer, because as a producer you’re involved in every stage of making a film. There was something really fulfilling about that.

And so now me, Morgan, and Joe are Numera Films and we have a couple of things in the works. Right now, we’re pitching a few features. We filmed another web series pilot called Restless Sleep, which is kind of like a web Black Mirror. It’s like a horror anthology where every episode is a different story.

And I am working with a company right now called Thousand Year Films. They’re producing Father of Nations which is a post-apocalyptic film that’s being filmed in the Badlands. They’re doing pickup shots today, as we speak, because they got shut down by COVID.

Screen Grab of Griffin Cork in Father of Nations from Thousand Year Films

JAMES

You were in a one man show and I’m sorry I missed it, but you won an award for best actor for the show from…

GRIFFIN

…Broadway World. That was for Fully Committed by Becky Mode.

JAMES

Tell me about being in a one man show. What type of challenges do you face? How do you work the day? What is that experience like for an actor?

GRIFFIN

I find there’s usually a point in a run of a show say, anywhere from like forty to seventy percent of the way through the run that you feel like you’re in a groove. Not that you can go on autopilot. You still have to connect with your fellow actors, but you can do the show confidently. With Fully Committed I never hit a groove.

Every night, I was unsure if the show was going to go well. But there’s something really exciting about that and my stage manager, Meg Thatcher, was my lifeline. Fully Committed unlike a lot of one-man shows doesn’t interact with the audience at all. No asides. No inner monologues. Nothing. And there’s a lot of tech, and seventy cues that were all phones.

The story follows Sam who works at an expensive restaurant’s booking line. That’s his gig. He’s a failing actor and he’s trying to make a living. So, we slowly discover the plot and meet all these characters through three phones. There’s the main phone line. There’s one phone line that goes directly to the chef. And then there’s a cell phone.

So, throughout the play one of the phones will ring. And sometimes that’s in the middle of me being one of the two characters that I’m talking to and playing on stage. And then this phone rings and I have to remember who’s on the phone. And frankly, there were one or two times where I totally goofed and I picked up the phone and went – “Hello.” And I went with a different accent than the person I’m supposed to be in the play at that moment and thank God for Karen’s improv because I improvised a conversation that kind of revolved around what was happening, and then I put the phone down.

And God bless Meg that phone would ring again, and she’d give me another shot at remembering who that person was supposed to be. I don’t know if stage managers get enough recognition, because they are your scene partner, technically, in a one man show.

Birnton Theatricals Production of Fully Committed by Becky Mode
Starring Griffin Cork, Directed by Chris Stockton, Lighting and Design by Kathryn Smith
Photo by Chris Stockton

JAMES

Here’s an interesting question for you to ponder. Actors look at human nature. So, in your exploration of human nature what do you think is the fundamental force driving human behaviour?

GRIFFIN

Holy crap, James. Oh, man. Are you asking what I hope drives human nature, or what I actually think drives human nature?

JAMES

I like truth.

GRIFFIN

I think one of the largest driving forces for humanity and human nature right now and the way that people act in today’s world is a sense of identity. And I mean that in the simplest ways in terms of who am I? What values do I have? You know, kind of the more metaphysical questions, but also in the more social questions of how am I seen?

But I think human nature is an ever-growing evolving beast. I know who I was at seventeen is not who I am right now, and I think my understanding of human nature and my understanding of what drives human nature is not the same as it was then. I think everybody would like to say that they know who they are and what their values are, but I think it’s always changing. So, I think what drives human nature is to kind of keep up with the ever-evolving nature of your identity. And I think that is really exciting, and I think it also explains the surge and use of social media.

I use social media as a work tool for marketing and also for acting. When you’re know as an actor, you’re marketing yourself, which I think is a weird phrase, but it’s kind of true. That’s why social media became so popular because it gave people a sense of identity.

It’s like on a very basic level deciding whether you’re a cat person or a dog person so if you’re having a conversation in the group, and the other person goes, “Oh I’m a dog person too” there’s that brief moment where you go, “Oh, you and I are part of something.” So how you’re perceived on social media is not a separate identity but a part of your identity, but for those who don’t know you personally it’s your only identity.

It’s so scary for me to just declare what I think drives human nature because I think I only have such a small sliver of what human nature is. Like I bet you someone who works in literally any other profession will have a totally different answer. But I think because my job is so focused around people and relationships, and sometimes pretending to be other people or adopting the qualities of other people that it requires you to constantly re-examine your own identity.

Lenin’s Embalmers by Vern Thiessen
Broken
But Hark! A Voice! With Thou Art Here Theatre
Concord Floral
D-Day Plus One
John, 316
Calgary Young People’s Theatre Production of Holmes and Watson

JAMES

After playing a role have you ever afterwards adopted a perspective or had a character you’ve played influence your identity?

GRIFFIN

Interesting. (Long Pause) Yeah, kind of. It was a production of All for Love by John Dryden at the University of Alberta. You know the show?

JAMES

No, I don’t.

GRIFFIN

It’s basically just the story of Antony and Cleopatra. It’s not exactly Elizabethan, but it’s still a very classical text. It was directed by Peter Hinton, and I played Ventidius, who was one of Anthony’s lieutenants. And in our adaptation and exploration it was almost like a love triangle between Anthony, Ventidius, and Cleopatra. Ventidius didn’t have any romantic or sexual love for Anthony, but just a profound respect, and I don’t want to say platonic love because it was stronger. It was love and respect and admiration. But even those words aren’t enough. I think it’s something that gets generated by wartime and warfare and all those insane psychological pressures that come with that time. And there was just this phenomenal bond between them. For so long I had a certain way of expressing my love for my male friends and I walked away from that show with a deeper confidence to be vulnerable and honest, when expressing deep admiration and love and respect for a male friend.

All For Love with Sarah Emslie, Helen Belay and Leila Raye-Crofton
Production Design by Sofia Lukie, Photo by Ed Ellis

JAMES

So, I noticed there was a Lieutenant Governor of Alberta Award announced a few weeks ago.

GRIFFIN

That’s right.

JAMES

I think they had one hundred and sixty submissions and they picked ten young emerging artists. You being one of the ten. Tell me about winning the award. What was that like? What does that mean to you?

GRIFFIN

It was really, really phenomenal. Since high school or junior high school a lot of my friends are like, “Oh, I can’t wait to get out of Calgary. I can’t wait to get out of Alberta.” And even when I was like thirteen I was like, “I think it’s pretty good here.” And I’m fortunate that my parents made travel an important part of my life, because I’ve been to a lot of places in the world and that’s kind of solidified my love for Alberta. I’ve seen other places and life’s pretty good here. It’s kind of like you don’t know what you have until you don’t have it, right?

It’s also kind of why I haven’t made the move to Toronto or Vancouver. It’s not that I think my life and career would be a lot different if I moved to Toronto or Vancouver, but I find I truly believe in Alberta. I think Alberta has a lot to offer. And I think the way I described it to the Lieutenant Governor is, I think Alberta has for the past ten or fifteen years had this compressed nugget of diamond potential that is going to burst soon. There’s a part of me that just believes it’ll happen, and I really want to be here when it does. And frankly a lot of my friends make fun of me for defending Alberta the way that I do so winning the award was a little Alberta love and a nice high five back.

Griffin Cork
2020 Lieutenant Governor of Alberta Emerging Artist Award

JAMES

So, how old are you now? If you don’t mind my asking. About twenty-five?

GRIFFIN

Twenty-four. Oh my God, I think I’m twenty-four.

JAMES

Okay, I have a question for you. Where are you at forty?

GRIFFIN

At forty. It’s hard to think about. I’d like to get married. I love the idea of marriage. I’d like to have a kid. I don’t know how many. I can’t imagine more than one or two.

JAMES

It’s interesting to me that the first thing you think of is home life. When I asked you where you saw yourself at forty it wasn’t theatre. It wasn’t career first. The first thing that popped into your mind is I would love to be married. I would love to have kids.

GRIFFIN

Well that’s the result of a lot of inner exploration that I’ve been doing since I graduated in terms of what would actually make me happy in life. Like what is it that contributes to your quality of life, because from eighteen to twenty-two I was very business focused. Not that I’m not anymore. I just didn’t make time for anything else. I was just hustling – hustling – hustling – constantly going at it. And I don’t regret it because it benefited me greatly. But I think as I get older, I’ve started to explore what will make me happy.

JAMES

Give you a happy life.

GRIFFIN

Totally. Rather than just a good career. Have a happy and fulfilling life.

JAMES

Have you identified any of those?

GRIFFIN

Man, I want a partner for sure. Absolutely. I can’t imagine going through this life without a partner. I know people that do it. People that never marry or never date. I don’t think I could do it. I think there’s so many cool life experiences that happened to everybody but also different cool life experiences that happened based on the career you chose and where you live and are more special when you share.

One of the first times that I travelled without my parents was when I went with some of my friends and my partner at the time to Australia and New Zealand. And it was euphoric experiencing a part of the world that I’ve never experienced before and having the experience of travelling on my own, but in my own generation with one of the most important people in my life at the time. I think it was that life event that I went, “Oh man, there’s more to life than work.”

JAMES

So where are you going to be at sixty? A grandfather I’m assuming.

GRIFFIN

Definitely a grandfather. Frankly, I don’t see myself, directing, I’ve only ever directed one thing, and it was a music video, and that’s about as far as I’ll go. I don’t think I have the skills or interest in directing. I would love to have a television series at some point in terms of being a character on a full season of a show because that’s four months of filming, and I think that kind of journey would be really interesting. And I love the idea of doing a touring show. I’d like to be teaching, a little bit. One of the most fulfilling experiences of my life, so far, was being a supervisor at ARTSTREK. ARTSTREK is the best. If you’re a drama geek and you go to ARTSTREK there are ninety other drama geeks that you get to hang out with. I really like teaching kids. It’s so much fun.

JAMES

You have a new podcast. The Breakfast Dish. I’m curious. What is The Breakfast Dish and how’s that going?

GRIFFIN

So, my mother had a photo series on Facebook she called The Breakfast Series. It started when she had a meeting at 9:00 a.m. or something and she went okay, “If we’re going to meet at 9:00 a.m. we’re going to go for breakfast.” So, they went out for breakfast and after the meeting was done because breakfast wasn’t over, they just started talking about who they were, as people. Breakfast was conversation. Breakfast was who are you? Breakfast was what are you working on right now? Breakfast was, I’ve never met you let’s go for breakfast. So, then she started this thing called The Breakfast Series, where she wrote a blurb about the person she was having breakfast with and what they’re doing and why she loves them.

And so we pitched a breakfast series to Verb Theatre for their Blue Light Festival. The Blue Light Festival was A Festival of Social Media Performance meant to run entirely online that was announced back in October 2019 long before COVID entered the picture. We called it the Blue Light Breakfast Series and the idea was to interview all of the people in the festival. To find out who they are, and the work that they’re doing, but the work is secondary to us. We just want to know who you are. This is just us hanging out.

And because a lot of theatre is moving online, we wanted to make a good archive of all the socially distant online work that is happening right now within Alberta, but also across the country. So, we got a lot of development through Verb Theatre and then we wrote a grant to the Rozsa Foundation, The Calgary Arts Development Authority, and the Alberta Foundation for the Arts, and they chose to support us.

So, then we started The Breakfast Dish and The Breakfast Dish is for people who are making work online digitally. It is both to assist the artist in terms of the promotion of the work they’re doing because it’s a whole new theatrical marketing landscape that no one really knows how to do, and to help audiences find the work online. And it’s just me and my mom and we made a pact when we started hosting it that it’s just a conversation. We have some ideas of what to talk about but it’s just three or four people chatting about their work, who they are, what their favorite breakfast is, and why they do the work they do.

JAMES

Griffin, because you’re a host and because you have your podcast if you were going to sit down with Griffin Cork and be the interviewer, what would you ask yourself? Is there anything that you would want to bring up and love to talk about?

GRIFFIN

I don’t often get asked about what is the driving force of human nature in today’s world.

JAMES

I get asked that all the time.

GRIFFIN

I’ll bet you do. The thing that I could probably talk to you about ad nauseam is something we touched on earlier.

JAMES

Ah, I think I know what it might be.

GRIFFIN

Guess.

JAMES

Dungeons and Dragons.

GRIFFIN

Yes sir! Just give me one second. (Holds up sheets and notebooks) These are all my character sheets and notebooks, of all the campaigns that I am in currently. Oh boy. It’s the best because it’s just creative storytelling, with your buddies, or your family or random strangers at a gaming store. And especially if you do what my dad does which is the Homebrew, right? Homebrew is the term we use where you make up your own campaign. You don’t use the books. You just make up your own world and your own story. So, you get to make this TV series length saga story every Thursday night with your friends at a table with some chips. I mean you can’t do that right now, but before COVID that’s what you did.

JAMES

You do it in four different locations now. We have Zoom. We have the connectivity. We have the ability to stay in touch. We didn’t have that before.

GRIFFIN

Yeah, and I think Dungeons and Dragons and video games or computer games or anything like that tricks people into exploring their own creativity, even if they think they don’t have any. Even if they think they have no artistic talent or creativity or anything.

Something like Dungeons and Dragons or video games, kind of pulls that out of you. Whether you like it or not. And then you get to see it and view it and experience it. That I think is why I love Dungeons and Dragons. You’re just making stuff up. That’s how you don’t think about your shopping list is you’re trying to figure out the world that’s being presented. I’ve talked about Dungeons and Dragons so much. I could talk your ears off.

JAMES

I have a suggestion for you.

GRIFFIN

Hit me.

JAMES

The driving force of human nature is the desire to play.

GRIFFIN

Oh yeah, that’s a very good suggestion.

JAMES

Because you know we say play around with it see what you come up with. Scientists play around with ideas. We play with things all the time. That’s it. Humans just like to play. There you go. There’s our self-help book. Play it Forward.

GRIFFIN

Perfect.

JAMES

So, we covered a few things.

GRIFFIN

We sure have covered a few things. The only thing that I would toss in is that I forgot to tell you the advice my dad gave me.

JAMES

What advice did you father give you?

GRIFFIN

The only reason I bring it up now is because I think it’s not just a theatre thing. I think it’s a life thing. When I was eighteen I was freaking out about paying for theatre school and doing this career because I’d been told how hard it is and there are so many unknowns, and my dad sat down beside me, and he was quiet for a moment, and then he put his hand on my back and he went, “Do the thing that you want to do until you don’t want to do it anymore. And then find something else to do.” And I stopped freaking out. And of all my mentors that sentence is the best piece of advice I ever got, because you wouldn’t want to be forty and going, “God, I wish at eighteen I’d gone and done what I wanted to do.”

DOWNLOAD – James Hutchison Interviews Griffin Cork: Actor, Producer, Filmmaker
This interview has been edited for length and clarity.

Interview Trevor Rueger: Actor, Director, Dramaturge

Posted on May 17, 2020July 2, 2022 by James Hutchison

Trevor Rueger – Photograph by Hannah Kerbes

“When you sit down as a playwright and you start to think about a character that’s going to inhabit your world, that’s a piece of coal. Until you put that piece of coal under pressure, you’re not going to reveal all of its facets. So, characters have to be put under pressure. And that’s where you as a writer, and your audience is going to discover all of the facets of that character. And you’re going to turn that piece of coal into a diamond. With facets that shine and shape and inform. It’s pressure. But the pressure can be lost if the writer gives it too much time.”

Trevor Rueger has been an actor, director, writer and dramaturge for over 30 years. In 2011 he received the Betty Mitchell Award for Outstanding Performance by an Actor in a Supporting Role for his performance as Billy Bibbit in Theatre Calgary/Manitoba Theatre Centre’s production of One Flew Over the Cuckoo’s Nest. As an actor, he’s been seen at Theatre Calgary, Lunchbox Theatre, Sage Theatre, Vertigo Theatre, Stage West, and the Garry Theatre.

His directing credits include When Girls Collide, Columbo: Prescription Murder and Columbo Takes the Rap for Vertigo Theatre, Ai Yah! Sweet and Sour Secrets, Life After Hockey and The Complete Works of William Shakespeare (Abridged) for Lunchbox Theatre, Heroes for Sage Theatre, SHE and Matadora for Trepan Theatre, Medea and 33 Swoons for Rocky Mountain College and Courage for Lost Boy Productions

For 20 years he was an ensemble member and writer for Shadow Productions. Trevor was also an original ensemble member of Dirty Laundry which is a weekly improvised soap opera and for 10 years he was chair, writer, and producer of the Betty Mitchell Awards which recognizes excellence in Calgary Theatre.

I’ve worked with Trevor several times over the last decade as a dramaturge and I’ve always found his feedback on my plays to be insightful and constructive. He asks the right questions. Questions that make me think about my story and characters in a manner that results in a better draft.

I sat down with Trevor at Alberta Playwrights Network where he’s been the executive director for the past eleven years to talk with him about his career and his approach to acting, directing, and working with playwrights. Our interview took place in late January, a few months before the current pandemic and lockdown, and so the impacts of COVID-19 on the Canadian Theatre Community were not a part of our conversation.

JAMES HUTCHISON

I’m curious, how did you get interested in theatre and what were some of those early experiences and influences?

TREVOR RUEGER

I didn’t get involved in theatre until high school. I come from a family that was certainly not against the arts. We as kids were just allowed to find our own way. So, when I was a kid, for me, it was sports for the most part.

I was a middle child with six years difference between me and my younger sibling out on an acreage where the nearest neighbour, who was five years older than me, was two miles away. So, I spent a lot of time by myself inventing games and inventing sports and I was quite imaginative and creative, and I was a bit of a gregarious kid as my mother would state.

So, in high school, my mom said, “Well, you should probably take a drama class because you’re such a ham.” And I said, “Okay.” So, I did.

And on the first day of the drama class, it was announced that auditions for the school play were happening that afternoon, and so I signed up for an audition. The play was called Present Tense and it’s a fun little play about a kid in the 50s who’s having trouble with his girlfriend and he imagines that his girlfriend is having all of these wild and crazy love affairs with everyone but him. So, I auditioned for the play and the next day I was cast as the lead in the show.

JAMES

Had you not been cast, who knows?

TREVOR

Oh, exactly. Absolutely. And so, I took drama and played sports all the way through high school. And there was a bit of a pull between my basketball coach and my drama teacher as to which I should focus on. And when I was in grade 12, there were some conflicts between my basketball schedule and my drama schedule and suddenly my schedule all worked out, because unbeknownst to me until I found out many years later, my basketball coach and my drama teacher had gone behind my back and negotiated my schedule.

High School Years

JAMES

Oh, that’s cool. So, then you went off to the University of Calgary to pursue a degree?

TREVOR

I didn’t start out pursuing a degree in theatre. I did one year of General Studies and then I was going to go off into the Education Department where I was going to become a math teacher. But I took drama 200, which was the introductory acting class with Grant Reddick. Halfway through the course you get your grade, and you have a little meeting with the instructor.

So, I go into Grant’s office and sit down and Grant says, “The work is really coming along and you’re really doing well and here’s your grade. How are you doing in your other drama courses?” And I said, “I’m not taking any other drama courses, I’m actually, in General Studies and going into the Education Department.” He went, “Oh, no.” And I said, “What do you mean?” He went, “You should probably take the other drama classes.” And I went, “Okay.”

So, I went home and had a challenging conversation with the parents about switching my major and going into the drama department.

JAMES

How did you approach that? I mean, you said they were pretty open but a number of years ago there was more of a thought that you picked a career and stuck with it. You didn’t have options. Now days people will have four or five careers.

TREVOR

That was certainly their major concern. This does not seem like a career choice. This does not seem like something you can make a living at. This sounds like something, that while it may satisfy you in one way, is going to be incredibly challenging. And so, they’re really looking out for me, right?

JAMES

As parents do.

TREVOR

Yeah, absolutely. It was a difficult conversation. It was three or four years later that I finally realized they were acting out of love and protection and wanted the best for me. But I kind of had them over a barrel because they had made a promise to all of their kids that if you went to university or college they would pay for it. So, I threw the gauntlet down and said, “That’s fine. I am out of here and you’re really reneging on your promise.” So, there was some negotiation and my dad kept pushing me to do a fallback degree afterward. But oddly enough, all the way through my university I was working professionally as an actor. I was studying during the day and doing shows at night.

JAMES

What kind of shows?

TREVOR

I got my first paycheck from Stephen Hair for doing a straight play called Cards on the Table by Agatha Christie at Pleiades Theatre back in that time. I think I played a police officer who had six lines.

Pleiades Mystery Theatre – Cards on the Table by Agatha Christie

JAMES

So, you’re in university and right away you get taken in by the Calgary theatre community. How do you think that helped you build your career here in the city?

TREVOR

I have to take a step back slightly because I already knew a lot about the Calgary theatre community before university because my high school drama teacher Kathryn Kerbes was a professional actor and did some shows while she was a teacher. And her husband Hal Kerbes was quite well connected and a fantastic artist and actor, singer, and costumer. He did it all. In fact, our high school drama class was thrown a party by Hal and Kathryn Kerbes at their home after we graduated where they invited all of their theatre friends over. And so, at that point, I was already quite well immersed and I already knew a few of the people who were part of the cast of my first Pleiades show.

JAMES

So, how do you approach a character? How do you get into the mind of the person you’re going to be? The character you’ll be portraying.

TREVOR

I start big. I start with a big wide canvas. And then I bring the lens into smaller and smaller and smaller details. The first thing I look at is the narrative journey and arc of the character. And then figuring out within that arc what the character wants. That to me is the fundamental question approaching any material. What does the character want? Then once I discovered that I ask how does the character fit into the story? Then I start to look at the text. What does my character say? What does my character say about myself? What do other characters say about my character?

And then I start to develop a physical vocabulary that comes from the world around me and the world that we’re creating in the rehearsal hall and then ultimately on stage. If I’m in a family drama one of my tricks is to look at my relatives and steal their moves. I’ll decide within the family structure who is the most influential on my character, and then I’ll pick up their mannerisms.

So, for instance, I was playing Happy in a production of Death of a Salesman at the Garry Theatre directed by Sharon Pollock. And I just watched the physical mannerisms of the actor who was playing Willie, and the actor playing my older brother Biff and it wasn’t mimicry, but I just went, with a similar physical vocabulary.

JAMES

Any particularly fond memories of a role that you really enjoyed working through and capturing,

TREVOR

I’ve enjoyed a lot of the work I’ve done but the work I did as a young actor with Sharon Pollock at the Garry Theatre was really great stuff to be able to cut my teeth on. The Garry Theatre was a pretty amazing experience because I was directed by her in roles that I would never have had an opportunity to even audition for at other theatres in Calgary or across the country. I played Alan Strang in Equus, I played Happy in Death of a Salesman and I played two or three characters in a production of St. Joan. But I was so green. I was absorbing the work without actually being able to articulate what I was doing.

Cast from the 2016 Stage West Calgary Production of Suite Surrender by Michael McKeever

JAMES

What was it like for your family to come and see you on stage?

TREVOR

They were always supportive, and they came to see as much of the stuff that I was in as they could. And my dad was quite gregarious as well and spent a fair amount of time telling stories in various pubs in and around Forest Lawn, and I would go and meet him every once in a while in the afternoon for a beer after class. And going through university my dad was always, “ You know you could get your education degree.” And in year two it was, “You could get a real estate license.” Year three it was, “You know, you could probably turn these drama skills into sales. I know a guy who owns a car dealership. You could sell cars on weekends. Or you could always learn to be a backhoe operator.” So, he was always just going, “Get something else to fall back on. It doesn’t have to be another four-year degree.” And my dad would introduce me when friends would come over to the table as this is my son he’s going to university. Well, finally there was that day my dad introduced me to one of his pals who’d never met me before as, “My son. He’s an actor.” I went alright.

JAMES

So, tell me about what attracts you to directing and what type of shows are you attracted to?

TREVOR

Here’s the thing that I discovered which leads me very well into the world of being a dramaturge. It’s not that I dislike the performance aspect of being an actor. I quite enjoy it. I love putting on the costume. I love walking out in front of an audience. I love hearing them react and knowing that you’ve had an effect on them in some way. But when you get into the run of a show, it’s the law of diminishing returns. So, what I discovered when I started directing, which has led me into dramaturgy, is I love making big discoveries. And that’s the rehearsal hall. It’s the same way as I was just discussing how I approach a character right. Starting with this big broad canvas. So those big discoveries. What is this world that we’re going to create? Who are the people who inhabit this world? How do they connect to each other? What are we telling an audience? What are we showing? What are they seeing? All tied back to, we’re supporting the work of the playwright.

The 2010 Theatre Calgary Production of One Flew Over the Cuckoo’s Nest by Dale Wasserman. Based on the novel by Ken Kesey. Directed by Miles Potter.

JAMES

How did you end up getting involved in dramaturgy?

TREVOR

It was working with Sharon Pollock. It really was. It changed the notion of how I look at work and how I look at plays. And at that point, I had no idea what dramaturgy was, but she looks at work as a director, as a writer, as an actor, and with such a writer’s eye, and with such dramaturgical care for the work that it made me read differently.

Again, we were doing Death of a Salesman and in our first read through the actor, playing Willy Loman made a choice with a line delivery on about page eight or nine. And it was our first read-through and Sharon stopped there and went, “That’s a very interesting choice that you’re making. I just want to warn you, let’s not get trapped into that yet because while you do say that and that could be the emotional content of what you’re saying here – forty pages from now you say this.” And I thought – how is she on page eight, and on page forty at the same time, and it was because she had a concept or saw the whole. And it made me start to look at work differently. As an actor to look at work differently. As a director. And then realizing a few years later, oh, that’s dramaturgy. That’s dramaturgy – defending the work of the playwright and seeing the big idea within that world.

JAMES

I find it takes a couple of reads to understand the connection between page eight and page forty because on a first read you don’t always see the connection between the two.

TREVOR

Absolutely. Though, as a dramaturg it’s not that I don’t give work multiple readings before actually crafting a response to a playwright but I generally make my notes on the first reading because for me – what the playwright has asked me to do as the dramaturge is to be their very first audience. And an audience is only going to see a work once. So, I approach it with that mindset. So, I will read it and make my big notes and observations. Then usually upon a second or third reading, I start to be able to see, “Oh, hang on, my bad. I misread that. Oh, I see, that connects to that.” Or, “Mmmm, it seems to be that the idea is shifting or has shifted or wants to shift.”

JAMES

This is why I think it’s very important not to share the work too soon. Because if you share it too soon you can never get that first reader back. Although to help make it fresh again one of the things I find useful is to put the work back into the drawer for six months.

TREVOR

Absolutely. So much of my practice, as a director has touched on that kind of notion. I feel that within the Canadian theatre system, we do not have enough time to rehearse nor do we have enough time to let the work germinate for the artists because of the commercial aspect of things, right, that you have to create a new product virtually monthly or bimonthly. Rehearsal periods are truncated and the work just gets rushed to the stage. So, for me as a director wherever possible I do five-hour days with my cast instead of an eight-hour rehearsal day. We’ll do eight hours for the first couple of days and then we’ll shift as soon as possible to a five-hour day.

JAMES

What do you find the shorter hours do for them?

TREVOR

They come back the next day fresh. They’re still working eight hours. They’re not doing eleven and twelve-hour days. So, they’re actually doing eight hours of work but you only have access to them for five. And that creates within the rehearsal hall a demand to be focused. People come in fresh and you can usually start those final days of rehearsal at noon. So it’s like 12 to 5. So, you come in fresh because you’ve had a morning. You’ve had an evening. You’ve had an opportunity to do some work. You’ve had an opportunity to think about the work. You’ve had an opportunity to reflect on notes. As opposed to coming home at the end of an eight hour day throwing some food in your face, trying to learn your lines, getting up the next morning and taking a look at the work you’re going to be doing the next day. It’s all so exhausting. It’s also exhausting for a director and a stage manager.

Jamie Matchullis as Jennifer, Chantelle Han as Lilly, Ben Wong as Charlie, and Kelsey Verzotti as Jade in the Lunchbox Theatre production of Ai Yah! Sweet and Sour Secrets by Dale Lee Kwong. Directed by Trevor Rueger – Photograph by Benjamin Laird

JAMES

So, tell me about APN.

TREVOR

The Alberta Playwrights Network is a membership-driven organization devoted to supporting, developing, and nurturing the work and the playwright through education, advocacy, outreach, and any other resource or technology that we can provide our membership.

JAMES

You’ve been running APN for eleven years. Where do you think you were as an organization when you started and where do you think you are now?

TREVOR

APN, as I’ve always known it, was a healthy, vibrant, energized organization. And the organization that I inherited, certainly was that. Strong membership base. Pretty interesting programming that people were taking advantage of. But over the last eleven years, the biggest thing that I’ve seen shift and change and alter is the theatrical landscape.

When I came into the organization Canada Council had just paid for a research paper to be written by Ben Henderson who was with Saskatchewan Playwrights Centre and Martin Kinch who was with Playwrights Theatre Center in Vancouver. Both organizations very much like APN. They wrote a paper called From Creation to Production that talked about the new play development model, as it existed in Canada, and as it existed in the UK and in some parts of the United States. And at that time, it was a pretty standard that a play gets selected for a workshop. A play gets developed. A play gets produced. Or a playwright gets developed and produced.

There were a lot of ideas in there that I looked at and I read. “Okay, is APN doing this? Yeah, we seem to be doing that. All right. That seems to be successful. We seem to be doing this. That seems okay. We don’t seem to be doing this. I don’t know if our organization could ever do this.”

So, I enacted a five-year plan at that point which focused on playwright advocacy and doing more work and providing greater agency for our members by getting their plays into the hands of people that might produce them. So, through that came a number of things including the catalogue which featured plays ready for production by our members. Fast forward ten years later, that paper, From Creation to Production, is completely out of date.

JAMES

It’s now a historic document.

TREVOR

Yeah, absolutely. And so that’s why APN with funding from the Canada Council is currently engaging in this national research project, to discover – who we are and where we are as a nation – and as producers and creators and playwrights and theatre companies – and trying to figure out what the landscape is as it pertains to new play development, new play creation, new play curation and to find out what we can do.

Mike Czuba, Kira Bradley, Melanie Murray Hunt, and Trevor Rueger workshopping new work with APN

JAMES

Well considering where we are right now can you talk a little bit about diversity and inclusion as an organization.

TREVOR

Three years ago, at a board retreat, one of our board members brought up as a point of discussion that we don’t seem to be doing a lot of work in the realm of diversity which lead to a really great conversation that we had never had as an organization. Because our organization has always been open, and available, to anyone and everyone.

JAMES

If you’re a playwright, call us.

TREVOR

If you’re a playwright, call us. We don’t discriminate based on age, race, country of origin, religious background, sexuality, or sexual identity. None of that has ever been a part of our membership process. And we’ve never asked those questions, nor did we ever care to. So that led us to the discovery that while that may be our internal belief that may not be our external perception.

And as we’ve done some surveys and spoken to diverse theatre creators about this what we discovered is not that the outside perception was necessarily wrong, but that the outside perception was different from our internal belief. We believed that we were an open door for everyone, but what we discovered is we have to take that door out to people and let them know that we exist and that we have this belief?

JAMES

It’s not enough to just have the door open.

TREVOR

Exactly. So, we’ve held a couple of meetings with diverse artists from across a number of disciplines both in Calgary and Edmonton. We’re also undergoing a process with the Professional Association of Canadian Theatres and there’s a number of Calgary theatre companies that have gotten together for two or three meetings to have frank and open discussions about equity, diversity, and inclusion that are chaired and convened by diverse artists which has been really eye-opening to us.

We just got some money from Calgary Arts Development, to dig into this work a little deeper. So, we’ve just hired what we’re calling a Community Outreach Ambassador, who for a period of time is going to go out and engage with diverse and underrepresented communities and just have frank and honest conversations with them about what our organization does. Here’s who we are. Do you have creators? Do you have writers? What can we offer you? Is there anything that we could provide that would assist you on your artistic journey?

By the end of this year we’ll probably be creating some value statements that we will publish on our website and those value statements around equity, diversity, and inclusion will trickle down and be at the forefront of thoughts regarding programming.

For ten years Trevor Rueger was the chair, writer, and producer of the Betty Mitchell Awards. The Betty Mitchell Awards recognize excellence in Calgary’s Professional Theatre Community. Photograph by Jasmine Han

JAMES

So, let’s talk about dramaturgy. How do you engage with the playwright? What works best?

TREVOR

For me, dramaturgy is a philosophy. And the philosophy is simply about helping the playwright find the ideas, both big and small in the world that they’re trying to create. I tend to start every dramaturgical session by asking the playwright, “Tell me about you and tell me about your work. And tell me about the creative process that you’ve been engaged in thus far and tell me what you want to say.” A lot of the questions and feedback that I tend to formulate, as I’m reading a work generally always come back to, “What are you trying to say? What do you want the play to say? What do you want the audience to think, feel, and be saying when they’re walking out of the theatre? What’s the experience you want to take them through?” So that’s always where I start a conversation. And that becomes a touchstone from which we can negotiate.

JAMES

Do you have any particular way of breaking down scripts?

TREVOR

There are three things that I really focus on. One is character. If I was to pick up this script as an actor or a director, based on what I’m seeing right now, would I be able to either give a performance, akin to what the playwright has written, or as a director get to a performance that’s akin to what the playwright has written. That’s usually where I have a lot of questions about the character and the character journey. To me, it starts with character, then it moves into structure. How is the world structured? How is your narrative structure? And then my third one is time. I think the notion of time is overlooked by emerging playwrights.

JAMES

What do you mean by time?

TREVOR

What I mean by time is how much time expires in the world of your play. Because time has a powerful effect within a narrative in terms of an emotional state. When I teach my introduction to playwriting, I use the epilogue at the end of Death of a Salesman as an example of time. Linda is standing at Willy’s grave and in the reality of the play he passed two or three days ago. She’s got this beautiful speech about, “I can’t cry Willy. I can’t cry. Every time I hear the screen door open, I expect it’s you. I can’t cry.” And I always ask playwrights in the course, “Okay, so that’s three days ago, but let’s imagine she’s standing at the grave a year later and says those exact same words.”

JAMES

It totally changes everything.

TREVOR

It totally changes everything, right? The audience now is getting a completely different story. And all you’ve done is change the element of time. The actor is going to play it differently. The director is going to approach it differently. So, that’s what I mean by the notion of time, and how time is important and sometimes we give a story too much time. It becomes too epic and the hero’s journey loses all of its stakes.

When you sit down as a playwright and you start to think about a character that’s going to inhabit your world, that’s a piece of coal. Until you put that piece of coal under pressure, you’re not going to reveal all of its facets. So, characters have to be put under pressure. And that’s where you as a writer, and your audience is going to discover all of the facets of that character. And you’re going to turn that piece of coal into a diamond. With facets that shine and shape and inform. It’s pressure. But the pressure can be lost if the writer gives it too much time.

L to R: Col Cseke, Kathryn Kerbes & Trevor Rueger in an APN workshop for Saviour by Maryanne Pope – January 2019

JAMES

I really like the fact that you’re talking character, structure, and time, because then it doesn’t matter whether it’s comedy – doesn’t matter whether it’s a tragedy – because those function in every story. And those things are the elements the story is built out of.

Okay, I have one final question. Speaking as a dramaturge you’re working with a new playwright. He’s written a new play called Hamlet. What are your dramaturgical notes on Hamlet because it’s a pretty good play?

TREVOR

Yeah, it’s pretty good. One question would be, “Do you feel that the Fortinbras plot is overwritten for what thematically you think it’s giving you?” Because that’s the plot that always gets cut. And I ask people when I’m teaching my introductory playwriting course, “In Hamlet, how long from the first scene on the parapets of Elsinore castle to the end of the play? How much time has expired in the real world?”

JAMES

You know, I’ve never thought about it, but it feels like it’s a lot of time. Well because he travels to England and comes back. I don’t know. A month. Two months?

TREVOR

Six months.

JAMES

Six months.

TREVOR

Six months in order to travel by boat to and from England. And there is a reference to six or seven months actually later in the text. But if Hamlet was to be that slow and wishy-washy for seven months…

JAMES

…he wouldn’t have our sympathy. We’d be frustrated with him.

TREVOR

Yeah, we’d want to punch him in the face. So, our mind shortens it to an acceptable amount of time. Yeah, I could see how he would have difficulty making a choice in two months. But you know, if I’m really thinking about the fact that it’s taking him six to seven months to make a decision, I’m starting to turn off the character. Yeah, so maybe you want to take a look at time.

I did a speech for a seniors group at Theatre Calgary many years ago about dramaturgy and I created a fictional case study on if I was to dramaturg Hamlet, but it was like, draft one, right? So, Shakespeare comes to me and he goes, “Okay, I got this great idea for a play. Here’s what’s going to happen. Kid comes back from college because his dad’s died. And then his mom is sleeping with his uncle and his uncle killed his dad.”

“Oh, that sounds really great.”

“Yeah. And then he enacts revenge.”

“Okay, great. Question. Did he witness the murder?”

“No, he did not witness the murder.”

“Did somebody witness the murder?”

“No, no, no. This is how the uncle is getting away with it. Nobody witnessed the murder.”

“So how does Hamlet know that his uncle did it?”

“What do you mean?”

“Well, you said he exacts revenge on his uncle for the murder of his father?”

“Yeah?”

“So how does he know his uncle killed his father?”

“Ah, yeah, I see what you’re saying. (Pause) Ghost of his dad?”

“Ghost of his dad! Good idea. Let’s have him show up.”

Alberta Playwrights’ Network is a not-for-profit provincial organization of emerging and established playwrights, dramaturgs, and supporters of playwriting. Our members come from across the province in both rural and urban communities, with the largest portion of our membership residing in Calgary and Edmonton. We strive to be a truly province-wide organization, with representation from all corners of the province. Alberta Playwrights’ Network exists to nurture Albertan playwrights and provide support for the development of their plays. APN promotes the province’s playwrights and plays to the theatre community while building and fostering a network of playwrights through education, advocacy, and outreach.

DOWNLOAD – James Hutchison Interviews Trevor Rueger: Actor, Director, Dramaturge

This image links to an interview with Matt Dy the Director of Script Competitions at the Austin Film Festival

Interview: Actor Ryan Quinn Adams – Celebrate the Small Victories

Posted on April 26, 2020February 1, 2023 by James Hutchison

Actor Ryan Quinn Adams

“I’ve made a lot of friends working on sets and being in class. Everyone says this is a cut-throat business but it’s not. Actors really do champion other actors. At least the ones I choose to have in my life. I love it when my friends book work, even when we go out for the same roles. We support each other through the tough stuff and celebrate even the small victories.”

Ryan Quinn Adams is an LA based actor who commutes between Lake Tahoe, where his family lives, and Los Angeles in order to pursue his dream of becoming an actor. I first met Ryan when my play, Death and the Psychiatrist, was part of WordWave in Lake Tahoe back in 2016, and Ryan was cast as Randy Cooper a patient with a bundle of phobias including a fear of Thanksgiving that was the result of his pet turkey Oscar paying the ultimate price for the family feast. Ryan brought a warmth and charm to the part and we connected on Facebook and since then I’ve been following his trials and triumphs as he pursues his dream. I spoke to Ryan and we discussed his life as an actor working to break into the biz, as well as his approach to acting, and how The Empire Strikes Back ignited his love for story and movies.

RYAN QUINN ADAMS

Ultimately I’ve wanted to be an actor ever since I saw Star Wars the Empire Strikes Back with my mom and my sister when I was about five or six, and I was just enthralled with the idea of being able to use magic to navigate the world. And my mom knew one of the prop makers that worked on Star Wars, and we went to his shop, and he had a Darth Vader helmet. And I don’t know if it was used in the production but I’m guessing not because he gave it to me. It was a full helmet that attached from the front and back. It was a really well-done piece of machinery, so for Halloween, I was Darth Vader and I made the circuit board. And you know, I’m five or six years old and I just had black gloves and black clothes on but for a little kid it was very imaginative and it just opened my world to how movies can really spark your imagination.

JAMES HUTCHISON

You’ve gone from being that six-year old kid dressed up as Darth Vader trick or treating to that guy who’s trying to become a professional actor in LA. Is there any way for you to tell us a little bit about what that journey has been like for you?

RYAN

It’s been long. (Laughs) When I was eight I did my first commercial. And I lucked out with that because we owned a resort. My grandparents built this compound in Palm Springs on two blocks where all the houses backed onto each other, and my grandparents bought the houses and removed the fences, and so it became a compound. It was for the family to use because they’re big on family gatherings, and they were well to do so they had the resources to do it.

And my mom said, “Why don’t we turn this into an executive retreat where people can come on their business trips.” Basically, your first Airbnb, right? And so, we were living there. My mom was running this executive retreat, and JC Penney was staying there shooting their Christmas catalogue and commercials, and I was in the backyard playing. It was a great place for a kid to grow up because we had pools and there was a lot for a kid to do.

So, I was outside playing and the kid that they had hired was sick. And the producer was walking by watching me play and said, “Hey, how would you like to be in a commercial?” I didn’t know what that was, so I asked my mom and she said, “Absolutely.” And they put me in these nice clothes and had me play. And that was my first paid acting gig, and they paid me really well. I’m eight years old and I made more in a day than my mom made in a month. And I thought, “Wow, that’s pretty cool.”

But I didn’t pursue it at the time because we moved a lot. We moved from Palm Springs to a little town called Eagle’s Nest in New Mexico. And we were there for about four months and then we moved to Tahoe after that.

Ryan’s first paid gig as a model for JC Penny’s Christmas Catalogue

JAMES

Any memorable experiences from your time living and growing up in Lake Tahoe?

RYAN

When I was in the 11th grade Kevin Costner was filming The Bodyguard in Tahoe with Whitney Houston. I was VP of the drama club and our president, Stacey Wisnia, had got it in her head to get in contact with Kevin Costner and invite him to speak. And so, she figured out which hotel he was staying at, and she just wrote him a letter and stuck it under his door.

JAMES

She stuck it under his door.

RYAN

Yup, she slid it under his door. It’s a small town so everybody knows everybody. And she must have known the front desk person and said, “Hey, I just want to slide this note under his door.” And the note simply said, “Hey, you know, we have a drama club and we know you’re shooting here. Would you mind spending a couple hours telling us about your experience?”

And he did. He showed up. And the drama club got to be out of school for the day, and he came to the theatre and we talked. He was only supposed to be there for two hours, but I think he stayed for about four. And he just answered questions and told us about his story and how he was in college and he wasn’t even planning on being an actor. But he stumbled on it. He did a stage performance of, I can’t remember, but it was probably one of the Arthur Miller classics and he fell in love with it.

JAMES

Kevin Costner was a big, big, star at that point in his career. For him to drop in on a local drama club and spend three or four hours there chatting and talking about his life and the business is very revealing about the type of person he must be.

RYAN

He was super generous with his time and his answers. But the big thing he was saying was if you’re considering pursuing acting as a career, don’t do it. He went on to explain all the trials and tribulations you go through and the likelihood of being a star or even being able to make a decent living at it at the time was really slim. Even though he was telling us not to pursue acting as a career all I heard was it is possible and it can be a rewarding life.

JAMES

I think you mentioned to me that your drama teacher also said don’t become an actor.

RYAN

My high school drama teacher, K.C. Hoffman, was just out of college so she was twenty-one or twenty-two teaching people just a few years younger than herself. She gave us the freedom to explore and do the work in a playful way. But she told us how hard the business was and when I was a sophomore, we did a production of Arsenic and Old Lace. I really wanted a specific role, and I got the script ahead of the audition, and I memorized the role I wanted, and I did the work as if I had already gotten the part, and I came into the audition and I killed it. And she said, “Would you like to audition for anything else?” And I said, “Absolutely not. This is the role I want.” And she said, “Really, because I don’t see you in this role.” And so, I didn’t get cast in it, and that was my first real rejection in the business. And she did it, she said, to teach me a lesson because she knew I was starting to think about pursuing acting as a career. So, that was kind of a devastating blow to me.

Actor Ryan Quinn Adams

So, I did pageants and plays and started picking up music instruments, and I was in a band in high school, and when I moved to LA out of high school I wanted to be an actor, but you had to have an agent to get work. There were independent films but not to the level there are now. You could do background work and get your SAG voucher because they wanted you to be SAG before you’d be repped. So, you needed work before you’d be repped, but you needed a rep to get work.

JAMES

That’s a catch-22.

RYAN

It is a catch-22. I found it extremely frustrating. So, to pay the bills I ended up working in the music business. I worked for a company called Studio Instrument Rentals, and they’re still around, and I’m still friends with the owner, Ken Berry.

They have a huge assortment of instruments – drums, keyboards, guitars, amps, anything you need to put on a show, even lighting setup, stages, and professional sound equipment. And I started off as a delivery guy. So, people would rent a Gibson Guitar for a studio session, and I would deliver it. And while I was there, I wanted to learn about how to do live audio mixing, how to do the lighting, how to set everything up. So, it was like a paid internship for me. I just absorbed every little bit of it I could, and within a year and a half, I was one of the production managers that would put on the productions.

I worked with a lot of up and coming bands at the time like Jessica Simpson and Matchbox Twenty. And I worked with Metallica who were pretty well known. And I got to work at venues that most people don’t get to go to see. I did a lot of the parties at the Playboy Mansion and you know as a twenty-something-year-old guy I was living the dream.

Ryan Adams and his friend James Roberts “living the dream” in LA

But when I was in the music business I got really heavy into the drug scene and became an addict and in 2000 I got somewhat sober. I was still drinking and partying but nothing like I had been, and I met my wife Amanda, and I was actually going to move back to LA in 2001, but we found out she was pregnant, and I thought, “Well, let’s do the right thing and stay here in Tahoe and have a family.”

So, I ended up getting a job working for a cell phone company that was eventually bought out by Verison, and I was doing really well in sales, and we’re raising our daughter Aaralyn, and then I started getting back into the drugs and my son Daylan was born in 2006. And I was in my full-blown addiction from 2006 to 2009 where we are homeless, you know, we lost our home. We lost all of our worldly possessions. The only thing I didn’t lose was my children and my wife. And we’re living in a trailer on my in-law’s property just off the hill from Tahoe in a town called Pollock Pines, and in January 2009 I end up getting clean and sober. And at the same time, I started working for UPS as a driver and making really good money, and we bought a house, and we’re living the American dream and everything is going really well.

Family Beach Time – Ryan with his wife Amanda, son Daylan, and daughter Aaralyn

And in the process of being in a 12 Step Program, you start to learn a lot about yourself, and you make amends to the people you’ve hurt. And that’s part of the process and the second time around doing the steps I made amends to myself, because I had put off my dreams of acting and of having a creative and fulfilled life for my addiction.

So, I said, “You know what, I want to get back into it.” And so I started doing plays at the community college in Tahoe, and I started buying digital film equipment, and in 2013 I auditioned for a film called Precaution and Manuel Crosby the director liked my performance, but I wasn’t right for the role, so he rewrote the script to have a part for me in the film. So, my first film credit is Precaution and it was because I did enough work in my audition to get the director to like me enough to write me in. And we’ve become really good friends since then, and he was a USC film student at the time.

So, I started looking for inspiration to write something myself, and I wrote a short called Second Glance. My son and I had gone to Denny’s to get his free Denny’s meal on his birthday and there was an older guy with a beard in a red polka dot hoop skirt with a purse to match and these big hoop earrings, and I just started thinking about this guy’s story. And I thought maybe it’s his wife’s birthday and he’s bringing her to dinner. So, I ended up writing Second Glance which is a story about this guy in a cocktail dress and he’s taking his wife out for their anniversary and along the way he meets all these bigots.

Rob Meiers in a scene from Second Glance. Directed by Ryan Quinn Adams.

And I knew a friend that owned an Italian restaurant, and he let me use the space when it was closed, and we shot this five minute short in eight hours. And everything that can go wrong on a production went wrong. The sound was terrible, so we ended up doing what’s called ADR on all the dialogue which is dialogue replacement, basically. But that film went to some festivals and won some awards, and so I got really involved in the film community. And I started making more shorts and meeting other like-minded people, and I was still working at UPS. So, I’m going to rehearsals at night, and I’m shooting on the weekends and suddenly my life becomes two lives plus trying to manage having a family at the same time. And then I started driving to LA for auditions in 2016 and in 2017 I decided to start taking acting classes with Howard Fine in LA.

He was basically Uta Hagen’s partner you know during the last decade of her life. So, it’s loosely based on Uta’s work. But that was an eye-opening experience because here I was trained to put on these characters on stage and to try to be something that you weren’t instead of using yourself in everything that you are, you know, and so that was a paradigm shift and really intense, but it’s much more effortless now.

Class Photo – Howard Fine Acting Studio

JAMES

Once you got into the serious acting you realize you mine your own experiences. You mine your own life. Your natural responses.

RYAN

Right.

JAMES

That’s one of the reasons acting done well, is so draining, right?

RYAN

Yeah, it’s exhausting even. Even some of the simple stuff can be really challenging if you’re really invested in it.

JAMES

Tell me a little bit about some of your favorite roles you’ve had or some of the favorite acting experiences you’ve had over the last few years.

RYAN

There’s a movie in post-production right now where I play a guy named Vince. He wants to be the boss of this gang, but he’s kind of incompetent, and he keeps screwing everything up, and he takes everything super personal.

The film’s called First Date, and it’s about a teenage kid who asks a girl out on a date, and he realizes his parents are taking the car to Vegas for the weekend, so he doesn’t have a car, but he’s saved up enough money to buy a car, so he goes and buys a car from a shady fellow. After he buys the car he gets wrapped up with a bunch of crazy people, cops, and criminals, including me and the gang I’m a part of, and we end up chasing this kid around. It’s an action rom-com basically.

Ryan Quinn Adams as Vince in the soon to be released action-comedy First Date. Written and Directed by Manuel Crosby & Darren Knapp

So, that was my friend Manuel that I did the movie Precaution with. This is his feature debut. It was a lot of fun to work with him. We shot sixty days over a year in total. We shot a lot because there was a lot of action that needed to be choreographed. And I did some stunts in the movie too. So, I got to work with a stunt coordinator so that was a lot of fun. That’s one of my favourite roles to date just because of how intense I got to be as Vince.

JAMES

Who are some of the actors that you really admire and whose work you like?

RYAN

Meryl Streep, Daniel Day-Lewis, Al Pacino, Robert De Niro, Michael Cain, Gary Oldman, Dustin Hoffman, and Jack Nicholson. They all get lost in the work. They’re so real and compelling to watch. Joaquin Phoenix was great in Joker. He brought a real humanity to the torment that his character was going through, and it was really compelling to watch. Tom Holland is a youngster that just blows me away. I know he has more in him, and I can’t wait to watch his career continue to soar. Hugh Jackman does theatre, musicals, anti-hero movies and is an amazing, loveable, charismatic guy. Tom Hardy is one of my all-time favourites just because sometimes I’ll be watching a film and I’ll be a quarter of the way into it and I’ll go, “Oh, my God, that’s Tom Hardy.” That’s just amazing to me that he can find that character so deep in himself that his essence merges with it. The Revenant, Dunkirk, Taboo… all Tom Hardy. What attracts me to all these actors is how effortlessly they make it all look, but it takes a great deal of craft to make it look that good.

JAMES

What is it they’re doing that makes it so powerful?

RYAN

If I knew that I would be right there with them. (Laughs) You know, a lot of times when you see a really compelling performance on screen it’s because the director gave them the freedom to do that.

JAMES

So, you have a place in LA and you commute between LA and Tahoe because your family is still based in Lake Tahoe. Can you describe what your life as an actor is like?

RYAN

It’s frustrating. It’s fun. It’s challenging. And it’s a lot of work. I put a lot of work into my craft, and I read a lot of plays and screenplays, and I do a lot of scene study with Howard and my classmates.

I spend over half my time in LA. The commute is six and a half hours each way so that’s challenging. I travel 1000 miles a week to follow this passion. The sacrifice of being away from my family for four days to four weeks at a time takes its toll. But they understand and the kids tell me it’s inspiring to see me follow my passion. But it’s hard. And when I tell this story people always ask, “Why don’t you just move them to LA?” Good question. Simple answer. They don’t want to live in LA. My wife has a good career in Tahoe. The last thing I want to do is rip them from their lives so I can follow this dream.

Ryan with his daughter Aaralyn, son Daylan, and wife Amanda in Tahoe.

So, I usually leave on Mondays and I come home Fridays because I’ve learned that if I have an audition on Monday and I don’t have anything for the rest of the week and I decide on Thursday to come home early as soon as I get close to Tahoe I’ll get a notice that I have an audition on Friday, and I have to turn around and go back. So, if I go down on Monday I stay for the whole week, and I almost always have an audition on Monday.

But I don’t wait around for the phone to ring. I never do that because it’ll drive me nuts. I’m always keeping busy either in class or hiking or at a movie or hanging out with some friends. But when you do get the call it’s usually an email or a text. It depends on whether it’s straight from your representation or if it’s through one of the casting sites. And then I’ll read the breakdown. You know, this is a guy in his 40s and his wife just left him and any other details they provide and that gives me a little background. If I can I’ll try to get hold of the script, or if the scripts not available from my agent or from the network I will go and read all the other character’s sides to get an idea of what this show is. If it’s a show I’ve never seen I’ll try to find an episode to watch to get the tone of it. And then once I get all that and have an understanding of where this character will live in their world I’ll start creating my character. Who is this guy? What’s happening? And I’ll just work my craft, and then, if there’s time, and it’s a big enough role, I’ll get some side coaching from an acting coach just to make sure I’m not missing any layers.

Ryan Quinn Adams as Vince and Angela Barber as Ricky in the soon to be released action-comedy First Date. Written and Directed by Manuel Crosby & Darren Knapp

JAMES

But that costs you money, doesn’t it?

RYAN

Yeah, it can cost money. Sometimes I’ll trade with people because I have directing experience and a pretty good eye for seeing what other people are doing. And then you go to the audition and depending on the audition I go through ups and downs of having lots of anxiety about auditioning to let’s just go have some fun and play. And it just depends on the audition. I auditioned for a film that Meryl Streep is the star in and my scene was with Meryl Streep and Nicole Kidman and I was pretty nervous about that one. So, I’ll do some meditation to try to calm things down. And then I go to the audition. And I have a ritual now where I tear up the sides and throw them away as I leave the audition. I’m not taking that with me. My work is done. And if they call me and I get the part then great, but if I don’t get the part then it’s Monday afternoon and I got to go to an audition and act today. That’s my philosophy on that.

JAMES

You mentioned you do films and you do a little bit of writing and some directing. How do you like to work with actors on your set?

RYAN

I love working with actors. It’s such a collaborative art especially when you’re directing. As an actor it’s collaborative too but when you’re directing you’re collaborating with so many people, and I love that aspect of it because you’ve got your cinematographer and your grips and the lighting guys and sound people and the actors and background and the art department and everybody’s coming together to make this thing that you’ve written, and you get to see it go from the blank page to a finished product. If you’re working on somebody else’s script then you take this roadmap, which is the script, and you get to create something out of it. My favourite part is working with the actors and seeing what they’re bringing to the table and then expanding on that because its fun to watch these characters come to life.

JAMES

What is your hope for your career?

RYAN

The generic answer would be a working actor but, you know, in truth, I would love to be on an HBO or Netflix comedy or drama as one of the series regulars. Ideally it would be a production that shoots all over the world so I get to see the world at the same time. (Laughs) That is my ultimate goal. How I get there is still up to the powers that be. But there’s so much work out there, I have no doubt that things are going to start shifting in my career as long as I keep doing what I’m doing.

With film there are different levels and when you start out you’re in the bottom level. You’re doing student films and stuff pro bono just to get a reel and to get experience and maybe you’re doing some background work. And then you level up to paid. Features, independent films, some non-network TV. And then you go into network TV, co-star, guest star, and maybe you’re no longer doing ultra low budget features you’re doing studio features or low budget features. And then you move up to recurring guest star and then series regular and doing big studio features where you’re not the lead but you’re doing more than a one liner on a film.

So, right now I’m levelling up from doing independent features and non-network TV to network TV. And there are some growing pains and some frustrations. Like I’ve been what they call pinned, which is basically between you and maybe another person after you go to call-backs. I’ve been pinned several times in the last few months for some pretty big things, and when you don’t get it you start having this self-doubt, but I just have to keep reminding myself that even a call back is a win in this business.

Ryan Quinn Adams in Dead Man’s Locket

JAMES

The other advantage you have is that you’ve lived a lot of life. I think you have way more life experience to draw upon than that kid who first went to LA at twenty. You’ve been knocked about. You’ve been bruised. You’ve raised a family. You mentioned your addiction and congratulations – I saw a post – where you said –

RYAN

Yeah, it’s been 11 years.

JAMES

That’s awesome. Congratulations.

RYAN

Thanks.

JAMES

I think that gives you a depth that you can use as an artist that wouldn’t have been there when you were younger. So, let’s talk about that. If you were to give a couple of tips to people, you know, thinking of diving in and doing the same kind of journey what would they be even though everybody told you not to do it?

RYAN

I do a lot of stage managing for Howard’s beginning classes and I try to mentor the young people in the classes, and what I tell people is it’s a marathon, not a sprint. Be prepared for the long haul. It takes time to develop craft. It takes time to develop relationships with agents, managers, casting directors, directors, everyone that you need on your side to have any kind of success. Don’t look at the no’s as missed opportunities or rejection. It’s not personal, so don’t take it personally. If you beat yourself up for not getting the role or get bitter about not booking or not getting an agent or if you start thinking it’s not fair, you won’t last.

Actor Ryan Quinn Adams

Allow yourself breaks. Take vacations. Spend time with family. Find balance. Do the things you love to do other than acting. Everybody wants an agent right away and they’re so focused on the career that they’re not spending enough time experiencing their life and what’s happening. You need to live your life to have life experiences to bring to these characters, and if you’re young and you don’t have any life experience it’s okay to get some.

I’ve made a lot of friends working on sets and being in class. Everyone says this is a cut-throat business but it’s not. Actors really do champion other actors. At least the ones I choose to have in my life. I love it when my friends book work, even when we go out for the same roles. We support each other through the tough stuff and celebrate even the small victories.

Getting an audition in LA is something like a one in four-hundred chance. There are three to four thousand submissions and they only call thirty to forty of us in to audition. Then if you get a call back they’re only calling four of us back, and when you book the job that means there were four thousand other people they looked at and you got it! That’s kind of mind-blowing. So, we celebrate the little stuff. “I got an audition.” “Hell yeah!”

DOWNLOAD: James Hutchison Interviews Actor Ryan Quinn Adams – Celebrate the Small Victories

Ryan Quinn Adams is a SAG/AFTRA actor based in Los Angeles California. For a complete list of credits, contact information, and acting reels check out www.ryanquinnadams.com or his IMDB Profile.
This interview had been edited for length and clarity.

Interview with Aaron Krogman: Actor

Posted on November 26, 2019July 2, 2022 by James Hutchison

Rebbekah Ogden and Aaron Krogman in the Rosebud Theatre Production of A Christmas Story based on the 1983 movie and the books by Jean Shepherd and adapted for the stage by Philip Grecian. Directed by Paul F. Muir. Photo credit Kelsey Krogman.

“The first show I ever went to see before I became a student here was a Christmas show and it was such a warm feeling of like showing up to someone’s house and the Christmas lights are on and there’s a warm fire and there’s laughter and good food and good drink in that house. That Christmas vibe is on offer here in a really particular and unique way. And, the show is the central point of that. We come together around this holiday and this moment of connection and I think the story is really connecting with people. It’s really a place where you come around and feel that warmth and that joy and the camaraderie and cheer of Christmas.”

Aaron Krogman, Actor

Rosebud Opera House – Christmas 2019 – Photo Credit Randall Wiebe

My son and I journeyed out to Rosebud a few weeks ago to see A Christmas Story. The play is based on the 1983 movie and the books by Jean Shepherd and has been adapted for the stage by Philip Grecian. It’s the classic tale of Ralphie Parker’s relentless campaign to get his parents to buy him, “an official Red Ryder, carbine action, 200-shot, range model air rifle, with a compass in the stock and this thing that tells time,” for Christmas.

Surrounding this core story there are several other subplots and adventures where we meet a whole cast of characters including Ralphie’s friends, the neighbourhood bully, his little brother Randy, the mall Santa, and of course Ralphie’s mother, and his father “the old man.” The Rosebud production features a terrific cast and a versatile and stylized set that adapts easily from one location to the next all while keeping the action moving.

A Christmas Story is a fun and family-friendly production that not only includes a highly entertaining and memorable holiday classic but also features a delicious holiday buffet feast and live Christmas Carols to put you in the mood before you go and see the show. The production runs until December 22nd and tickets are available online at the Rosebud Theatre Website or by calling the box office at 1-800-267-7553.

Aaron Krogman portrays the grown-up Ralphie in a charming and nuanced performance where he guides us through this particular childhood Christmas memory and adds some humourous insights and observations from an adult point of view. I spoke with Aaron about the production, his time as a student in Rosebud, his five years playing Jesus in the Badlands Passion Play, and his love of music.

Aaron Krogman – Rosebud Centre of the Arts

JAMES HUTCHISON

You’re a graduate of the Rosebud School of the Arts from 2008. Tell me a little bit about your time here as a student and what that was like?

AARON KROGMAN

When I graduated high school, I had no idea what to do with my life. I had high levels of interest in multiple topics and zero confidence in any of them. And I remember one summer other friends of mine had been back in town for the summer on their college summer break. And one of my friends said to me, “Dude, if you don’t go to school and do something, I will be so disappointed in you.”

And, a week later I said to my dad, “Dad, if I don’t get a plan together and go to school this fall, I never will, but I don’t know what I should study.” And he thought about it for a little bit and said, “You know Aaron, I’ve always thought you could be an actor on a stage.”

So, on his suggestion, I called Rosebud School of the Arts. Making that phone call was probably the scariest part of the whole thing. Paul Muir, who is the education director at Rosebud, and who is now my boss, answered the phone. We had a conversation about my interests and why I was calling, and I think that first conversation just opened a door for me that has never closed since.

When I showed up that September to start school, it was just amazing. I didn’t think the world could be the way it was in Rosebud. I didn’t think there would be people in the world who cared about the kind of stuff that I cared about. People who spent their lives making space for storytelling with the human being as the prime subject of storytelling and about the possibilities of making the world a better place and making human culture a better place and enabling us to see the best in each other. My time as a student in Rosebud is one of the most amazing life-giving experiences I’ve ever had.

Aaron Krogman in the 2007 Rosebud School of the Arts Production of As You Like It

JAMES

Do you feel that you discovered your purpose in life by going to Rosebud?

AARON

I have memories of being very young and caring about the kinds of things that Rosebud’s about. I wouldn’t say that I discovered my purpose. I recovered it. It was something that was alive in me at a very young age and coming to Rosebud as a student and now being here as a member of the company and as an instructor I feel like I recovered my five-year-old self.

JAMES

Was there any particular instructor or mentor at the school that you remember any lesson learned or experience that still resonates with you today?

AARON

You know it’s funny, I’ve been thinking about what’s been so significant for me in the last month about opening A Christmas Story because it’s been a five-and-a-half-year break for me from interacting with the Rosebud audience. And now I’m back and this is my first time on stage and re-engaging with that audience. And I think it is the collective education that the audience has given me – the feedback and the support and the affirmation of what good, clear, generous storytelling is.

I think what’s particularly unique about Rosebud educationally is the chance to be in front of the audiences that come here. I think they are a powerful part of the training that takes place and I think there are many in the audience who deliberately come here because they want to see students grow. And so, I think, in the big-picture view of what has really made a difference for me has been exposure to and vulnerability with that audience. They are just as significant an educator as any of the faculty here.

And most of the direction that I’ve received as an actor has been with Morris Ertman the Artistic Director of Rosebud. I’ve done more shows with him than any other director and cumulatively his confidence in the ideal that we as storytellers have something vital to offer that matters has rubbed off on me in ways I’m still just discovering.

Aaron Krogman, Rebbekah Ogden, Glenda Warkentin, Silas Winters, and Nathan Schmidt in the Rosebud Theatre Production of A Christmas Story based on the 1983 movie and the books by Jean Shepherd and adapted for the stage by Philip Grecian. Directed by Paul F. Muir. Photo credit Morris Ertman

JAMES

Well, let’s talk a little bit about A Christmas Story. At the end of the night after the audience has seen the play what do you think they walk away with?

AARON

Well, I think it’s similar to what the play does for me. We end the story on Christmas morning. And I remember Christmas after Christmas my dad giving me a Christmas gift and being really excited about it. And in the play the dad is excited that his son’s going to open the gift that he’s been asking for – forever. And the father and boy open the present and the dad has all this additional information about the gift and I have so many memories of my dad saying things like, “Oh, I got you this little stereo for your room. And it has all these features and let me take you through all the features.” And that’s what happens in the play. And that’s so familiar to me. And it makes me so fond of my own father in that moment. And I love story that returns us to our own life in a way that makes us more able to live it somehow. Whether that’s remembering the best parts of it or whether that’s looking at it in a slightly more positive way.

JAMES

Tell me about the cast and what it’s like to work with them and how you guys worked on the play and brought it together?

AARON

It’s a ton of people who are all currently Rosebud School of the Arts students or grads. A lot of times we bring in guest artists which is awesome, but this is a rare thing where it’s a big cast that’s in house. And there are lots of opportunities for students in this show to take their first steps on the Opera House stage.

It’s one of the things I’m loving the most about this process right now. I’m watching students go through what I went through as a student. Which is having the opportunity to perform in front of an audience and how that changes your experience of the text and how important that is and to realize, “Oh, there’s an opportunity for a laugh in this line, which I didn’t see at all. And if I just say it clearly and communicate it, and offer it up, the audience will be ready for it. They know there’s a laugh line coming before I do as an actor. And if I just listen to them, they lead me to it.” So that’s one of the elements that’s happening in the play right now and I love to see that happen.

Back: Kalena Lewandowski, Anja Darien, Rebbekah Ogden, Holly Langmead. Front: Silas Winters, Keisha Wright in the Rosebud Theatre Production of A Christmas Story based on the 1983 movie and the books by Jean Shepherd and adapted for the stage by Philip Grecian. Directed by Paul F. Muir. Photo credit Kelsey Krogman.

JAMES

In Rosebud you do these main stage shows that run for two months. What as an actor is beneficial about having these longer runs where you get to spend time with this character in a story every week?

AARON

The educational opportunity is exponentially bigger. I think it’s amazing to experience the full range of what different audiences can be like in terms of their engagement. If you do a two-week run where you do ten shows, the greater part of your experience of that show is going to be rehearsal. Performance is the smaller part. And, I think that in most theatre programs you never get out of rehearsal.

You might do your student shows for a weekend or for a two-week run, but they’re all in house audiences. They are people who are coming that know you. There is value in an audience that is objective and indifferent and paying money to see a show. And there are those elements in a Rosebud audience and while they care about theatre they’re also paying money and they want it to be good. And I think that is part of the pressure cooker of what it means to be part of live theatre.

JAMES

When I was doing my research for this interview, I discovered that you released an album in 2012. I was just curious about music in your life and the importance of music and the creation of that album. How did that all come about?

AARON

I got into music long before I got into theatre. I was raised in the church and the primary involvement I had with the church was musical. So, I started playing drums and then played bass and then guitar and just did everything. I really loved music. It was one of the first things that really spoke to me.

And I was working on a play with Lucia Frangione, who’s a very successful award-winning Vancouver playwright who teaches a course here at Rosebud and she liked my writing and offered to collaborate with me on a project she was working on. And we started working on a piece about a songwriter who wrote songs and so I started writing songs for that play. We did some development and it was pretty exciting, but it didn’t really take off and so, in the end, I had these songs. And a friend of mine here in town Paul Zacharias was a music engineer and producer and he just made an offer to record them through his company doG House Studios. And I said, “Yeah, let’s do it.”

It’s funny that you asked about that because I’m actually scheduled to have another meeting with Paul and we’re going to record another album. And I’m excited about it because I’ve always loved music.

Aaron Krogman as Jesus in The Badlands Passion Play

JAMES

Let’s talk a little bit about the Badlands Passion Play. You’ve been in the play for seven years and five of those years you played Jesus. Tell me a little bit about the experience of being in that production and what that was like.

AARON

It’s theatre, but it’s different. It’s unique. It’s outdoors and it’s primarily community theatre. There are a few people who are there in a professional capacity and most of those contracts are behind the scenes in terms of stage management, design, and direction.

Almost all of the actors are volunteer or from community theatre and I think that is probably what makes it the most unique. There’s an amateur vibe to it, which is amazing. I’ve become a huge fan of the word amateur, as I’ve heard it defined by some of my favourite authors, as those who do something for the love of it. These are the real priests of culture. They’re the ones who are making an offering with the work of their hands.

JAMES

How did you find your interpretation of Jesus and that story change over the time of you performing it?

AARON

I think it charts some of my growth as an actor. I understudied the part for two years and so I watched it and I developed my opinions. My first-time playing Jesus was a reaction to what I had seen. I really wanted to play Jesus as understated and not as profound and to be motivated by the present moment. But in some ways, it didn’t serve the stage because that’s a particularly large stage and the size of the performance has to be a certain thing in order for it to reach the back of the house. People are watching with binoculars. They’re not seeing my authentic transparent thought.

JAMES

You were acting for the camera instead of the stage.

AARON

Totally. And, you know, the directors were all over me for that, and rightfully so. And I think we each have our imagined version of who Jesus is or was regardless of our faith and we also have this imagined version of Jesus that our culture offers us. Is he angry or is he warm and kind?

And I really wanted him to be like my version where he’s warm, thoughtful, and a little bit of a rebel. But the second year I got to do it I went really hard in the other direction. And the third year I did it, I sort of was like, I have no idea what I’m doing in any of this. And so, I just emptied myself of any preconceived ideas and based my performance very much in the moment and it’s not my strength as an actor.

I pre-plan. I know my text. I do my backstory. That’s been my habit, and that third year, I threw it all out. I just emptied myself of any preconceived notion of what I ought to do, and I just entered and reacted, and it was very much a roll of the dice in terms of who I was embodying. And I still did the right blocking. I didn’t surprise anybody really, but it was for me internally a hands-off kind of thing. And then the last two years I did the same thing and that’s kind of how I am as an actor now.

Rehearsals are about finding the boundaries, the thresholds, the gates to pass through. The ones that matter. And then after knowing those boundaries taking my hands off the wheel and having less control and the less control I have the more alive I am in the scene and the more people can enter into it. So, I flush the lines from my head. I empty myself of my awareness so I’m not conscious of what’s coming. I just let go and trust that the lines will be there and then I just react in the moment. Which is something I should have been doing in the first place.

Badlands Passion Play
Badlands Passion Play
Badlands Passion Play
Badlands Passion Play
Badlands Passion Play
Badlands Passion Play
Badlands Passion Play
Badlands Passion Play

JAMES

But that’s the big challenge, right? It’s the ability to know the lines so well that you can forget them. So, the emotional energy of your interaction with the characters on stage is what you’re actually responding to.

AARON

Totally. And that’s what I’ve loved about acting alongside someone like Nathan Schmidt who plays my Dad in A Christmas Story. He’s just one of the most generous scene partners. He pays attention. And he just says yes to everything you do.

JAMES

I have one more question about the Passion Play just because I was reading that it’s becoming more musical. There’s been the addition of live music and rather than the lines always being spoken some of them are now being sung. Is that correct?

AARON

In 2018 they went on a big tangent down this musical road and then in 2019 they jumped in with both feet. I think I sang twelve songs in last summer’s version. And now for next year, they’re not going to be doing the music they’re going to go in a different direction.

JAMES

Oh, interesting.

AARON

That’s another unique thing about the Passion Play. They’re workshopping it every year. And sometimes there are big changes and sometimes there are smaller changes. The production, as a whole, is hungry to grow and always kind of morphs.

But there is something really cool about the musical theatre form because it’s larger than life. The size of the expression and the form of the expression reaches further, it’s more obvious and it demands more of your body. It demands more of your instrument. And I think it lends itself to the size of an outdoor stage. And in the Passion Play, you have to use your hands. You have to point at who you’re talking to. All those things which feels so manufactured, when you’re not used to them become the language of that stage. And musical theatre already lives a huge step further in that direction.

But it’s funny because in recent years I’ve spent much more time on the Passion Play stage than on a smaller stage like the Rosebud Opera House and I’ve had to shake off the habit of full arm extension every time I say a line to somebody. It’s been great to let that go and find a more subtle size of performance.

Rebbekah Ogden, Nathan Schmidt, Silas Winters, Glenda Warkentin, Geordie Cowan, Kalena Lewandowski, and Keisha Wright in the Rosebud Theatre Production of A Christmas Story based on the 1983 movie and the books by Jean Shepherd and adapted for the stage by Philip Grecian. Directed by Paul F. Muir. Photo credit Kelsey Krogman.

JAMES

So, why should people come out to Rosebud to see A Christmas Story?

AARON

Because it’s more than just the show. It’s coming to this town. There’s Christmas lights everywhere. There’s Turkey in the buffet. You get to hear Christmas music sung to you as you eat. You enter into the Christmas context in a way that is just so memorable.

The first show I ever went to see before I became a student here was a Christmas show and it was such a warm feeling of like showing up to someone’s house and the Christmas lights are on and there’s a warm fire and there’s laughter and good food and good drink in that house. That Christmas vibe is on offer here in a really particular and unique way. And, the show is the central point of that. We come together around this holiday and this moment of connection and I think the story is really connecting with people.

It’s really a place where you come around and feel that warmth and that joy and the camaraderie and cheer of Christmas.

A Christmas Story based on the 1983 movie and the books by Jean Shepherd and adapted for the stage by Philip Grecian runs until December 22nd at the Rosebud Opera House. The production stars Aaron Krogman, Rebbekah Ogden, Glenda Warkentin, Nathan Schmidt, and Silas Winters and is directed by Paul F. Muir. Tickets are just $84.00 for adults and $62.00 for youth and include a seasonal buffet with roast turkey and stuffing, plenty of side dishes and other main courses, plus a vast array of pies and cookies and puddings. Order tickets on-line at the Rosebud Theatre Website or by calling the box office at 1-800-267-7553.

Interview with Mark Bellamy and Sayer Roberts: A Gentleman’s Guide to Love and Murder at Stage West

Posted on May 29, 2019October 28, 2024 by James Hutchison

A Gentleman’s Guide to Love and Murder by Robert L. Freedman and Steven Lutvak at Stage West Calgary is one of the most entertaining and fun shows I’ve seen on a Calgary stage. This production is outstanding, and I guarantee you’ll be delighted and amused and laughing at the exploits of Monty Navarro as he plots and murders his way into high society.

The Tony Award winning A Gentleman’s Guide to Love and Murder tells the story of Monty Navarro whose mother was cast out and disinherited by the D’Ysquith family when she married for love. Monty and his mother are forced to live in poverty as the D’Ysquith family remains unmoved by his mother’s appeals for reconciliation. When Monty’s mother dies and Monty learns the truth of his birth and that he’s eighth in line for an earldom he sets about to avenge his mother’s death and take his rightful place as head of the family.

The book, songs, and music from a Gentleman’s Guide are smart, fun, and witty, but having great source material only works if you have an exceptionally talented cast to pull it off, and director Mark Bellamy’s production has assembled a stellar cast that works seamlessly together. Kate Blackburn as Sibella and Ellen Denny as Phoebe are pitch perfect and hilarious as the women in Monty’s life who tempt him, tease him, and manipulate him based on their own desires and ambitions. Tyler Murree shows he has a real gift for farce as he portrays every member of the D’Ysquith family with an air of comic pomposity and entitlement. And Sayer Roberts plays Monty Navarro with all the charm of Cary Grant and the elegance of Fred Astaire making Monty one of the most gracious and likeable rogues you’ll ever meet.

The play is filled with memorable and smart songs including, I Don’t Understand the Poor, Better With a Man, and I Will Marry You as Monty knocks off his relatives one by one on his quest to become the Ninth Earl of Highhurst. Will Monty succeed or will he get caught? Will fate lend a hand? Will he marry Phoebe? Will he always love Sibella? You’ll have to see it in order to find out.

This is easily a five-star production and worthy of two thumbs up. In fact, it’s so good I’m seeing it again, and I’d highly recommend you see it before it closes, because you’ll have a darn good time, and this production won’t be available on demand. Theatre and live performance is the ultimate “here for a limited time” experience.

I sat down with the director of the show Mark Bellamy and actor Sayer Roberts who plays Monty, the Wednesday before the finale of Game of Thrones, to talk with them about the play, musical theatre, and our predictions of who will sit on the Iron Throne.

Mark Bellamy – Director and Musical Staging – A Gentleman’s Guide to Love and Murder at Stage West Calgary

JAMES HUTCHISON

How did you both get involved in the Canadian premiere of A Gentleman’s Guide to Love and Murder here at Stage West?

MARK BELLAMY

I’ve loved this show from the minute I’d heard about it. I love the music and I’m a huge fan of this style of musical theatre. There’s a lot of old school techniques that have been put into the writing and the structure of it. So, I learned they were doing it while I was here directing Baskerville last year, and they announced their season, and I was like, “Ah you’re doing Gentleman’s Guide.” And Kira Campbell who’s the Artistic Associate said, “Yeah we’ll get you for Gentleman’s Guide or for this other show, and I’m not sure which one to put you on.” And I was like, “Oh God, please put me on Gentleman’s Guide.” And they did.

SAYER ROBERTS

I saw it ages ago when they did the performance on the Tony Awards, and for a lot of Canada that was the first time any of us had seen or heard anything about the show. And I remember watching it and asking, “What is this amazing show?” And then I got a chance to see the show a couple of years later on Broadway, and I instantly knew that this was one show that I would very much like to do. And the fellow doing it too – he wasn’t the original – he was a replacement – but he was incredible, and I thought, “That’s what I aspire to be as a performer.” So, when the audition posting came out that Stage West was doing this I know that myself and almost every other Canadian was, “What? They’re doing this. I have to be a part of it.”

JAMES

The stars aligned.

SAYER

Exactly.

MARK

Yeah, they sure did.

SAYER

So, I went into the audition with a healthy dose of the cynicism that you always have to have as an actor, “This isn’t my show yet. I’m just going to lay down what I can do and show them what I would bring to the role, and if it happens, it happens, and if it doesn’t you move on.” But as soon as I walked into the room and Mark was there and Kira and Konrad Pluta, the musical director, and we started working on material I really felt like Mark gets this show, and I really wanted to work on it. It was a really fun audition, and I just felt good about it regardless of if I got the part or not, and as an actor you have to take that as a win. It doesn’t matter if you get the show or not. That’s not in your control. So, I left the audition going, “That was really fun, and I had a good time, and I feel like I established a good relationship with the people who are in the room and if that gets me the job that remains to be seen.” It was just one of those things where I felt this could work really well.

JAMES

Mark, I’m curious about how much you look at the individual and how much you look at the chemistry between the actors when you’re casting a show?

MARK

That’s hugely important to me. I’ve always said that one of my superpowers as a director is that I cast really well. And you don’t just cast the individual roles. You have to cast the rehearsal hall. You have to cast people that are going to work well together and especially in a show like this that has a long run you have to cast people who are going to get along well, and after many years of doing this I have a pretty good sense of who a person is and how they’re going to fit the room. Like Sayer said, so many people were excited to do the show – we had over seven hundred submissions between Toronto, Calgary, and the West Coast, and we saw probably two-hundred of those people either in person or via video because everyone wanted to be in this show. So, I was really fortunate that I got to pick from an incredible pool of talent.

JAMES

Have you ever had that amount of choice before?

MARK

Never.

JAMES

Are you spoiled now?

Kate Blackburn as Sibella, Sayer Roberts as Monty, and Ellen Denny as Phoebe in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

MARK

Yes. (Laughs) I’m really spoiled. Especially after working with these guys because there are some really distinct requirements for this show. You have to have people who have legitimately trained voices. Who can sing without a pop sound and these guys all can – as you’ve heard. Especially Sayer, Kate, and El – that trio of voices has to be so clean and they’re extraordinary. And I can’t actually think of anybody else in Canada I’d want to do this show with other than these people. I’ve been saying this – even before rehearsals started – that I have the best cast in the country, and this will be the cast that you will have to beat from now on.

JAMES

This needs to go on tour.

MARK

I would put this production on any stage in Canada.

JAMES

This is one of my favourite shows I’ve seen at Stage West in the last ten years.

MARK

I think it’s one of the best things I’ve ever seen here. And not that I’m biased because I directed it – but I am. (Laughs) I love the show, and because it was the Canadian premiere we worked really hard, and I was able to get these incredible performers. I was like, “We have to make this good. We can’t compromise anywhere. We have to push and push and push to make it as good as we possibly can.”

Elizabeth Stepkowski-Taran as Miss Shingle and Sayer Roberts as Monty Navarro in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

JAMES

I’ve been telling people about it and saying you’re going to like it – young or old you’re going to like this show. What do you think are the elements in this play that make it work so well?

MARK

I think there is something about a charming villain that we love. He’s like the antihero. But he is supremely charming, and we root for him. It helps that all of the people he offs, for the most part, have a slightly despicable edge to them or are deserving of their deaths in some way. But I think we love to see someone who’s an underdog and a bit of an outsider succeed in spite of all the odds, and it satisfies that part of our soul that goes, “I know he should get caught but he’s not going to and that’s so great!”

SAYER

The writing is why it appeals to me. It’s the book and the lyrics and the melodies. And it’s like a mixture of Oscar Wilde and Noel Coward and Noises Off and the classic British farce and Gilbert and Sullivan. It’s just such a perfect marriage of all of the mediums coming together to create such an exquisitely written piece. And I think, just like Mark was saying, the antihero charmingness – the fun farce side of it – he’s murdering people and yet this is fun, and there’s the underdog story, and it’s all bouncy and light from the beginning. It’s an entertaining show.

MARK

And there’s a lot of great humour in it. So, there’s that aspect and also the aspect that we have one actor, Tyler Murree, playing all of the D’Ysquith family. That’s a fun little tour de force. And it plays into that theatrical convention, and it gives the audience a bit of that, “Oh we know what’s going on. We’re in on the joke.”

Tyler Muree as Lord Adalbert D’Ysquith and Katherine Fadum as Lady Eugenia D’Ysquith in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

SAYER

As if the show isn’t funny enough already it just bumps it up so much more once the audience starts to catch on that that’s the same guy…

JAMES

…and he’s playing all the parts…

MARK

…and it’s really clever, and it starts out really slowly, and as you escalate towards the end of act one you just suddenly start to rip through these people. Like literally in scene eleven – which is the ultimate finale of act one – there are four times where he changes characters and comes in and out.

JAMES

Well, on a show like this just how vital is that backstage crew for you?

SAYER

This show would not be possible without a dynamite costume crew and running crew.

MARK

There are two crew members who are dedicated to doing nothing but changing Tyler Murree into all the D’Ysquiths. And all of those costumes had to be constructed.

SAYER

So, he might be wearing a full suit, but it’s all connected with a zipper in the back.

MARK

So, shirt, tie, vest, jacket it’s all one thing.

JAMES

One piece that he can step into and out of.

MARK

Because for some of his costume changes he’s literally got fifteen seconds.

JAMES

That’s part of the magic for the audience. Didn’t he just leave and then he comes back.

MARK

I think we’re so good at it that sometimes people don’t realize what just happened, because it’s so seamless and he’s coming out so calmly that sometimes you don’t realize he’s just made an immense costume change.

Tyler Muree as Lady Hyacinth with her entourage in the Stage West Theatre production of A Gentleman’s Guide to Love and Murder

JAMES

So, in terms of the production, how do the costumes and the set add to the overall experience of seeing the play.

SAYER

Well for me as an actor whenever I put on a costume it instantly amps up by twenty percent whatever the character was before in rehearsal and that’s particularly true when you’re doing period dramas. Costumes give you the aesthetic, and it definitely adds to the British sensibility of the show, and it changes how you move, how you sit, how you stand. I know for the women wearing those kinds of dresses and with their trains behind them it completely changes things for them. I didn’t have to deal with that as much because I simply wear high waisted suspender pants which I could live the rest of my life in very comfortably. (Laughs) And Monty goes from poor to slowly getting richer and the changing of the jackets really helped with that. That’s a real juxtaposition from starting with a rather old well-loved jacket that literally has pockets that are falling apart to ultimately finishing in a tux.

MARK

I think the set and the costumes are so vital to this show which was another challenge for Stage West because we need these Edwardian costumes, and that’s not something Stage West has a ton of sitting in their storage room, because they don’t do a lot of shows like this. So, a lot of this had to be created. Leslie Robison-Greene who is our costume designer is a genius. It was just incredible what she came with, what she was able to construct while she was here, and what she was able to adapt.

JAMES

Are there any particular songs that you just love and why?

MARK

I’ve Decided to Marry You, I think, is the pinnacle of the show.

JAMES

Is that the one with the two doors where he has Sibella in one room and Phoebe in the other room and he’s trying to keep them apart?

SAYER

Yes. I think with the exception of the bench scene from Carousel between Billy and Julie there’s no better example of musical theatre than the doors. I shouldn’t say of any musical theatre because there are lots of different genres but going for musical comedy there’s nothing better than that door scene.

MARK

It so hits the peak of the farce that the show is and that kind of encapsulates the whole thing. I think one of the things that’s beautiful about the music is that even though it echoes the British Music Hall and it echoes Gilbert and Sullivan it does it in such a way that it’s a homage that doesn’t copy it, and it doesn’t feel antiquated.

SAYER

It’s accessible.

MARK

It’s accessible and very modern and every single song carries the story forward and that to me is the hallmark of a really good musical.

Sayer Roberts as Monty Navarro and Kate Blackburn as Sibella Hallward in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

JAMES

It reminds me a lot of My Fair Lady.

MARK

Yeah.

SAYER

It’s very Lerner and Loewe.

JAMES

I Don’t Understand the Poor really reminds me of…

SAYER

Why Can’t the English

JAMES

Yes, but it feels fresh and original.

MARK

I’m a huge fan of the Golden Age Musicals of the late fifties to mid-sixties, and this really does echo back to that era when all the great American musicals were being produced.

JAMES

So, what is it about musical theatre that adds to a theatrical experience? What does the music bring?

SAYER

Well, there’s an old saying, or a piece of wisdom, or whatever you want to call it, that says, “When you have something to express you speak it. If you can’t speak it – you sing it. If you can’t sing it – you dance it.” And the progression of that so perfectly encapsulates what musical theatre is. And in good musical theatre there is a reason the character is singing. I love speaking Shakespeare. I love speaking monologues and straight plays, but there is nothing quite as deep as you can get into, in my experience, as you can in musical theatre when you sing words that are accompanied with some kind of soaring melody that is an expression of the turmoil or the joy or whatever is going on inside the character. Scientifically music evokes a different part of our brain so the audience tunes into it on a different level. So when you mix the emotion that you can gain from poetry and the emotion you can get from a piece of orchestral music and you put that together that’s double the amount of emotion you could have alone by itself.

MARK

Music is visceral. It just is. It affects you in a different place, and I think it carries emotion in a way that a scene – I mean not that scenes can’t – but it just heightens everything, right? Which is what I think that saying is about. As you continue to heighten and heighten and heighten – the song heightens the scene and the dance heightens the song. And I think it’s thrilling to watch, and I think it’s also thrilling to watch really talented performers who can sing the way that these guys sing, and when you hear these voices it’s stunning, and it’s beautiful. So, I think that’s part of it because I started my career as a performer doing musicals, so they hold a special place in my heart because I think you can move an audience in a way with a musical that you can’t with a straight play.

Sayer Roberts as Monty Navarro in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder.

JAMES

Well speaking of moving an audience, why should an audience come see this show?

SAYER

I think it’s probably because they’ve never seen a show like this before. And if you like British Farce, if you like musicals, if you like comedy and drama – you’ll like this.

MARK

It’s got a bit of everything. And I think it’s probably one of the most entertaining evenings you’ll spend in a theatre for a very long time. It’s ridiculously fun. It’s ridiculously entertaining.

JAMES

Okay, quick question for both of you – off topic – do either of you watch Game of Thrones?

MARK

Oh, God yes.

SAYER

I haven’t started yet.

MARK

Not any of it?

SAYER

No.

JAMES

I’m interviewing you now, but by the time this gets published the finale will have aired this coming Sunday. So, Mark who do you think is going to end up on the Iron Throne?

MARK

Oh, God.

JAMES

I’ll tell you who I think.

MARK

I don’t know. If you asked me that two weeks ago I would have had a different answer, but now after seeing what just happened…I think it’s going to be Arya.

JAMES

Oh, interesting.

MARK

I think she’s the only one who isn’t conflicted in some way who can actually do it.

JAMES

Interesting choice. My choice is Tyrion in the South, Sansa in the North, and Jon goes back to his direwolf.

MARK

I read a whole article comparing it to Tolkien’s Lord of the Rings and how you know Frodo doesn’t stay – he ends up going to the Gray Havens and that Jon Snow is Frodo and he won’t stay. He wouldn’t be happy on the throne. But that’s an interesting theory – that it splits. That might be it.

JAMES

Who knows? I’ve been wrong about so much.

MARK

Who saw any of this coming? Who saw that last episode coming? It will be interesting to see what happens. I had this random thought the other day that the only other person it could possibly be is Gendry because he’s actually been legitimized.

JAMES

Oh yeah.

MARK

She made him a Lord. He’s actually been acknowledged as a Baratheon. Spoiler! He’s the last and technically the Baratheons are kind of still on the throne. Anyway…

JAMES

…we shall see.

SAYER

I just love that.

MARK

People are so invested.

SAYER

And it just shows you that people need this stuff in their lives so much so that here we are talking about something fictitious and completely meaningless in the rest of the trajectory of our life and our world and politics and everything and yet it matters so much to us what happens to these characters and that’s why we’re engaged, and that’s why entertainment is not frivolous.

A Gentleman’s Guide to Love and Murder

Book and Lyrics by Robert L. Freedman
Music and Lyrics by Steven Lutvak
Based on the novel by Roy Horniman

CAST

Mark Allan – Ensemble, The Magistrate, Mr. Gorby & others
Alicia Barban – Ensemble, Miss Evangeline Barley & others Understudy for Phoebe D’Ysquith
Kate Blackburn – Sibella Hallward
Emily Dallas – Ensemble, Tour Guide, Pub Owner’s Wife & others Understudy for Sibella Hallward
Ellen Denny – Phoebe D’Ysquith
Katherine Fadum – Ensemble, Lady Eugenia D’Ysquith & others Understudy for Miss Shingle
Sarah Gibbons – Ensemble, Understudy for Female Ensemble roles
Jeremy LaPalme – Ensemble, Understudy for The D’Ysquith Family
Luke Marty – Ensemble, Tom Copley, Dr. Pettibone, Guard & others Understudy for Monty Navarro
Tyler McKinnon – Ensemble, Detective Pinckney, Pub Owner & others
Tyler Murree – The D’Ysquith Family
Sayer Roberts – Monty Navarro
Elizabeth Stepkowski-Tarhan – Miss Shingle

THE BAND

Konrad Pluta – Musical Director/Keyboards
Rob Hutchinson – Bass sub
Jonathan D. Lewis – Violin
Jim Murray – Trumpet sub
Keith O’Rourke – Clarinet
Sean Perrin – Clarinet sub
Jason Valleau – Bass
Andre Wickenheiser – Trumpet

CREATIVE TEAM

Mark Bellamy – Director & Musical Staging
Konrad Pluta – Musical Director
Howard Pechet – Executive Producer
David Fraser – Set Designer
Leslie Robison-Greene – Costume Designer
Norman Macdonald – Wig Designer
Anton de Groot – Lighting Designer
Michael Gesy – Sound Designer/Head of Audio
Shane Ellis – Scenic Artist
Kira Campbell – Production Manager Artistic Associate
Sean D. Ellis – Technical Director
Ashley Rees – Stage Manager
Darcy Foggo – Assistant Stage Manager
Jennifer Yeung – Apprentice Stage Manager
Taisa Chernichko – Dresser
Chris Cooper – Followspot Operator

This interview has been edited for length and clarity.

Christopher Scott and JC Charlton: Come Home

Posted on April 29, 2019July 15, 2023 by James Hutchison

“Everything I do is to survive. What’s going on out there, and what’s going on in here. You think I’m not counting down the days? I can feel my mind unravelling at the seams. Waking up in the night, cold sweats, my heart pounding so hard I think my ribs are gunna’ crack. I can’t tell what’s fucken’ real anymore there’s this banging and drilling on the walls like someone’s hammering away – is it real? I don’t know.”

CONNER from the Play Come Home by JC Charlton

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Living in Australia and working on the oil rigs far from home Connor Evans a young Calgary man finds himself falling deeper and deeper into a life of drug abuse and criminal activity. Come Home is a raw and honest play about addiction, the importance of friendship, and second chances.

Christopher Scott working the Rigs in Australia

The play is based on the real-life experience of Christopher Scott who along with his friend JC Charlton presented the play at the 2017 Calgary One Act Play Festival and the 2017 Alberta Provincial One Act Play Festival where it won several awards including Best Overall Performance and Best Original Script.

Now two years later the play has been workshopped and expanded and is being presented by Urban Stories Theatre from May 1st to 11th in the Motel Theatre at the Arts Commons. Tickets are $20.00 for adults and $15.00 for students, seniors, and artists and are available online at www.urbanstoriestheatre.org

Sally Cacic and JC Charlton in the Urban Stories Theatre Production of Come Home by JC Charlton. Directed by Nova Lea Thorne.

I sat down with JC and Chris, while they were in rehearsals, to talk with them about how the play came about and what message they want audiences to remember.

Christopher Scott musical artist and sound designer.

JAMES HUTCHISON

Come Home is inspired by your real-life experience of becoming involved in the drug trafficking world in Australia when you were there and eventually being given a second chance. Why did you want to tell your story?

CHRIS SCOTT

For the longest time, it was like a dark spot on the soul. I still held it deeply internally and it just started to eat away at me. I didn’t talk about it to anyone but when this opportunity arose to tell this story as part of the Calgary Regional One Act Play Festival I thought what better way to make something creative and positive come out of something dark and negative.

JAMES

How much of the play is based on real life and how much is poetic license?

JC CHARLTON

We’re saying it’s inspired by a true story. We’re not saying it is a true story. For example, we combined two different people from Chris’s life into one character that became our antagonist. The events we show were events that happened to Chris but at different times and with different people and we just lumped them together so we changed the timeline, so we could tell a story that had a solid beginning, middle and end.

JAMES

I know it’s a personal story but was there some sort of moral message you wanted to convey in the telling of the story?

CHRIS

Yes, you always have to stay positive because there’s always a light at the end of the tunnel it’s just sometimes you have to tough it out to get there. Looking back one thing kind of led to another and I’m surprised by how deep and dark it went. You just have to hold onto your friendships and stay away from nefarious people.

JC Charlton actor and theatre creation artist.

You often watch a movie about drug addiction or drug trafficking or crime and it’s going to have a depressing ending. It’s solely a cautionary tale where you see the characters suffer and lose it all, and in this story – yes there’s suffering – yes there’s loss – but in the end – it’s the belief in this person by his friends and family that pulls him out of it, and I think that’s what separates our story from other stories.

CHRIS

The bonds that we have for each other can save us.

JAMES

The play has a whole soundscape that accompanies it. What was the process like for creating the music and sound for the production?

CHRIS

It was a lot of trial and error. We’d try to capture the feeling of what section we were working on and then we would tweak the soundscape and the music to try and enhance that feeling or that mood.

There’s one section where the main character is having a panic attack envisioning all the terrible things that are going to happen to him, and the only thing that pulls him out of it is his girlfriend and, we’ve got this lovely piano melody that comes in there that’s very separate from anything else we’ve heard in the play up until that point. And then that melody keeps coming through the remaining pieces until we lead to the climax of the play.

JAMES

So, how different is the production that you’re presenting at the Motel compared to the one you did a couple of years ago at the One Act Festival?

The script was in its infancy at the one-act festival. Since then we got in touch with Helen Young from Urban Stories, and I was blown away the first time I talked with Helen, because we wanted to get it into their play festival, and she told me couldn’t because the play was more than twenty minutes, but straight off the bat she said, “From the sounds of it we might want to do this for a mainstage show.” So, we sent her the script and went for a coffee with her, and the next thing we knew it was all in the works. We had them producing it. We’re going to be at Motel. We had a dramaturg come in, and we were fortunate enough to be given enough time to work on the script and develop it further.

Christopher Scott and JC Charlton (foreground) in the Urban Stories Theatre production of Come Home by JC Charlton. Directed by Nova Lea Thorne.

We workshopped the script with Caroline Russell-King, who is a very talented dramaturg, and we completely changed the vehicle for the narrative. Before it was in the form of somebody telling their story to a friend, and now it’s all happening in the moment. And we’ve changed what the play is really about. Before it was focused on a single friendship and this friendship progressed the narrative, but now we’re focusing more on the individuals that Chris knew in Australia. The ones that kept him going when he was completely isolated. We get to know more about them and that changes the outcome of the play so now we have a new emotional climax – which I’m not going to spoil – but the main difference is that we’re including so many more characters and people responsible for bringing Chris home.

Sally Cacic, JC Carlton and Justin Many Fingers in rehearsal for the Urban Stories Theatre production of Come Home

JAMES

So, why should people come see it?

It’s a unique show that combines theatre, electronic music, text and it’s inspired by a true story that happened to a local Calgarian here. Helen’s given us a lot of freedom to develop the play and to assemble a pretty talented production team. Our director is Nova Lea Thorne, and our lighting designer is Neil Fleming. Alexandria Inkster is designing the set, and Justin Many Fingers has come in and been a guest choreographer for us on a couple of occasions.

CHRIS

It’s an excellent tool for healing and also a way for us to express and showcase ourselves theatrically and artistically.

When we did the show two years ago we were lucky enough to have a police officer come and see it, and what he said to me after the show was, “You know in my job it’s real easy to get jaded doing what I do, but after seeing this I’m going to remember that the next time I’m arresting a crack head or a drug dealer is that everyone has a story.” And I was surprised by how many people came up to me after the show with tears in their eyes and said that they had a family member that’s gone through the exact same thing. And that’s really what we’re trying to accomplish here. We’re trying to give an entertaining performance, but we’re also trying to do something that’s going to change the way people see people who are going through a hard time.

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Urban Stories Theatre presents Coming Home by CJ Charlton May 1st to 11 in the Motel Theatre at the Arts Commons. Tickets are $20.00 for adults and $15.00 for students, seniors, and artists and are available online at www.urbanstoriestheatre.org

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Come Home
By JC Charlton

CAST
JC Charlton
Christopher Scott
Sally Cacic

Directed by Nova Lea Thorne
Set Designer by Alexandria Inkster
Sound Design by Christopher Scott
Lighting Design by Neil Fleming
Guest Choreographer – Justin Many Fingers

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JC Charlton

JC is an actor and theatre creation artist based in Calgary, Alberta. JC is a University of Lethbridge alumni with degrees in education and fine arts. He has dedicated his career to acting and the development of new Canadian works. He has trained in advanced direction under his mentor Gail Hanrahan. Selected theatre credits include; (Kaahsinnoniks, dir. Justin Many Fingers), (Moon, Moon, No Moon, dir. Blake Brooker), (Come Home, dir. JC Charlton), (Okotoks, dir. Justin Many Fingers), (The Bear, dir. JC Charlton), (509, dir. Justin Many Fingers). 2016 Calgary + Provincial One Act Best Male Actor.

Christopher Scott

Christopher is a musical artist based in Calgary, Alberta. With a passion for melodic and bass heavy electronica he aims to create unique soundscapes and exciting experiences in a combination of theatre and sound design. He is a part of the new electronic duo, Mannequin. Chris has worked in a variety of fields from the drilling rigs in Canada and Australia to landscaping and construction here in Calgary, he has completed his training and holds certificates in the Fundamentals of Firefighting and Hazardous materials/ WMD incidents.

Sally Cacic

Sally Cacic is a West Australian actor. She is a graduate of Company of Rogues Actors’ Studio Master Class Program and StageMilk Drama School, and an ongoing member of StageMilk Drama Club in Sydney, Australia. She apprenticed in the Meisner Technique under her mentor Stacie Harrison, which she applies across her work in both theatre and film & television. Select theatre credits include Laughter (Urban Stories Theatre), How To Almost Be An Adult (Urban Stories Theatre), Late Night At The Plaza (Late Night Productions), and Australian productions A Chorus Line (The Old Mill Theatre), and Beauty & The Beast (The Ballet Company). Select film credits including Bright Hill Road (Nevermine Films), The Little Things (Shotlist Films), Joy To The World (SAIT Film Productions) 2017 AMPIA Rosie Award Finalist, and The Hundy (SAIT Film Productions) 2017 AMPIA Rosie Award Winner.

Nova Lea Thorne

Nova Lea is excited to be working on her first show with Urban Stories Theatre. She is grateful for the opportunity to direct this exceptional piece created by JC Charlton. Although much of her career, of late, has been in the area of stage management, she began her career as a performer, with Theatre New Brunswick, and has been involved in performance training and directing artist in residence programs, in Alberta, since the late 1990’s. She has instructed young performers with Quest Theatre, Theatre Calgary, Triangle Theatre School, as well as Theatre Works School of the Arts, a musical theatre school that she co-owned for twelve years. Nova Lea is the proud recipient of the Duval Lang Theatre for Young Audiences Award, a Betty Mitchell Juried Award.

Alexandria Inkster

Alexandria is a Calgary-based artist comes to performance through visual arts. She obtained her BFA in Sculpture in 2014 from the Alberta College of Art + Design (now the Alberta University of the Arts), and her MFA in 2016 from the University of Calgary. In her creative|research practice, Alexandria investigates the activation of agency and collective mobilization by enacting experiences of ambivalence, intimacy, freedom, and magical ideation. These investigations most often take the form of live performance and/or sculptural installation, where somehow her body always seems to become enmeshed in the work. Come Home is Alexandria’s first stint as a “set designer,” and she is absolutely thrilled to have the opportunity to work with its amazing cast and crew.

Neil Fleming

Neil is delighted to be part of the Come Home artistic team helping Chris and Jeff bring this story to life. Primarily a playwright, Neil sometimes likes to stretch his theatrical design muscles. Some past design credits include: Okotoks (Niitsitapi Dance, MT7), Gruesome Playground Injuries (Ground Zero, Hit & Myth), A Mid-Summer Night’s Dream (CYPT), The Vajayjay Monologues (Urban Curves), Shopaholic Husband Hunt (Lunchbox Theatre), Almost Perfect Thing, Kitchen Witches, In A World Created By A Drunken God, The Attic, the Pearls, & Three Fine Girls (New West Theatre), And So It Goes, Goodness, Bone Cage, Arm’s Length Embrace (Downstage).

URBAN STORIES THEATRE

Urban Stories Theatre supports local playwrights writing about social justice and humanity issues by nurturing their ideas from first draft to finished production. The company is made up of a core group of local artists who will oversee all productions and workshops. Budding actors, directors, stage managers and designers will be encouraged to share their ideas by becoming part of the team on a show by show basis.

Vision: To give local artists a voice in creating theatre that tells stories about real life.

Interview with Actor Christopher Hunt: Waiting for Godot

Posted on April 22, 2019July 16, 2023 by James Hutchison

“It’s a play that changed the theatre landscape in the world, and makes you entertained in the moment, and lets you reflect on your own situation and the world that you’re in. And that’s the other kind of marker for this play is that existential, you know, absurdist world view of ‘There’s no God, there’s no religion, there’s nothing to believe in so why are we here? What’s the point of life? What’s the point of continuing on?’ This play swims in those waters too. All those kind of questions that sometimes wake us up in the middle of the night, or strike us at our most insecure moment.”

Christopher Hunt

Although we’re a long way in both time and distance from January 5, 1953 when Waiting for Godot premiered in Paris – and opened up new possibilities of expression for the stage – the play still resonates with a modern audience. ‘Before Beckett there was a naturalistic tradition. After him, scores of playwrights were encouraged to experiment with the underlying meaning of their work as well as with an absurdist style. As the Beckett scholar Ruby Cohn wrote: “After Godot, plots could be minimal; exposition, expendable; characters, contradictory; settings, unlocalized, and dialogue, unpredictable. Blatant farce could jostle tragedy.”

At it’s simplest, the play is about two longtime friends waiting on the side of a road near a tree to meet with Godot, but on a deeper level, Godot explores the existential nature of existence and the underlying perseverance of humanity. It’s also a play rich in comedy, and a thought-provoking piece of theatre. So, it seemed rather appropriate that on World Theatre Day I journeyed to The GRAND to meet up with Christopher Hunt, one of the founders of Black Radish Theatre, to talk with him about his acting career, Black Radish Theatre, and the ageless appeal of Waiting for Godot.

Christopher Hunt in Waiting for Godot — Christopher Hunt is Estragon in the Black Radish Theatre Production of Waiting for Godot by Samuel Beckett. Photo by Andy Curtis.

JAMES HUTCHISON

In a previous interview you talked about having inspirational teachers at the start of your career when you were getting interested in drama and acting. Who were some of those teachers and how were they inspiring for you?

CHRISTOPHER HUNT

The first play I ever did was Tom Sawyer in grade four, and Mrs. Allen was my teacher. I remember she had auditions and I thought Sam Crystal was going to be Tom Sawyer because he was so outgoing, and I was really surprised when I got the part of Tom. And we did the play – you know – whitewashing the fence and Aunt Polly and all that stuff, and I just have such vivid memories of the fun that that performance gave me.

And then a few years later in Junior High I had a teacher named Mrs. Palmer who taught drama as an option, and again she played these theatre games that I’d never experienced before, and it allowed this shy little farm boy to open up and try different things and be funny.

And then in High School, I had a teacher named Marlene Hansen – she directed us in one-act plays for festivals, and one year when I was in grade eleven a grade twelve student won a scholarship to the Drumheller Drama School, and this guy didn’t want to go by himself, so Mrs. Hansen scraped together some money so I could tag along too, because I was a young keener. And once I found the Drumheller Drama School, that was like finding my tribe. These were theatre nerds like me – I didn’t know there were so many! And that lead me to take the Drumheller Drama School the next year and the year after that, when I was out of high school.

Jan Alexandra Smith and Christopher Hunt in the Theatre Calgary production of An Ideal Husband by Oscar Wilde. Photo by Trudie Lee.

JAMES

After that, you ended up going to the U of C, and I was interested to learn that you originally went into Education, and I was wondering why you chose Education and what made you switch to Drama?

CHRISTOPHER

I think it was because of those influential teachers that inspired me, and I thought that teaching would be great because I had so much fun with them when I was a student. I remember going to matinees as a student to Theatre Calgary in the old QR Centre and seeing The Importance of Being Earnest with Stephen Hair and Maureen Thomas, and I just thought that was amazing, but I never thought I could do that. I just loved the theatre and the fact that I was doing plays in high school was enough for me so I thought teaching drama would be a great thing to do. But when I got into university and I took some Drama courses and some Education courses – the Education courses were a bad fit, but the Drama courses were a good fit. So I talked it over with my parents who were helping me pay for university, and I said, “I think I’m going to switch.” My dad was a farmer all his life, and he was worried about me going into an industry that was even less reliable than farming. He wanted something a little more stable for the only one of his kids who went on to a university education. My brothers went to Olds College for agricultural studies, and my sister took some college courses. But then my parents did some plays in the amateur High River theatre group – Windmill Theatre Players – and once they saw what it was like, they could understand why I was so enamoured with it, and it became a little easier to get their support.

JAMES

As an actor you’ve said you’re open to using all sorts of different tools and techniques for creating a performance and I’m just curious how being able to draw on different techniques such as improvisation or method acting has been helpful in terms of hitting the stage, rehearsing plays, and developing characters.

CHRISTOPHER

I think as actors and as theatre people we get a chance to go into a whole bunch of different worlds and different stories and different kinds of telling stories and different buildings in which to tell those stories and different audiences to tell those stories to. And I’ve seen and worked with people who have a specific way of approaching the work. They always prepare this way. They always warm up this way. They always present themselves a certain way, and to me I admire that, but I think it can be limiting when you have all these variables in terms of types of stories, types of venues, types of characters, and because there’s so much variety, I think it’s better to embrace the variety than protecting a particular way of working. You have to be open, otherwise I think you’re limited in terms of the opportunities that might potentially come your way.

JAMES

Now, just before Christmas, you were at Vertigo Theatre in Dracula: The Bloody Truth. You were Van Helsing and that’s a play with multiple characters in it and you’ve done The 39 Steps which also has a lot of different characters and there seems to be a lot of that type of theatre happening now. Do you enjoy performing in that kind of show?

CHRISTOPHER

I do. It’s big bold choices – not subtle choices. But if I was just doing roles where I played a bunch of different characters in funny hats and voices and stuff like that I think it would get pretty tiring. That’s what I love about what I do. I can do that, and then I can do The Scarlet Letter or I can do Rosencrantz and Guildenstern – all these different challenges.

JAMES

Last year you were the recipient of the 2018 Harry & Martha Cohen Award which is given to individuals who have made a significant and sustained contribution to theatre in Calgary. You were nominated for the award by Grant Reddick and Marilyn Potts and they said, “Season after season, Chris has given performances that are significant, technically assured, innovative, subtle, engaging, amusing and often deeply moving. He is a master of comedy, his energy and timing in farce are delightful, and he tackles serious drama with ease.”

CHRISTOPHER

That was very nice of them to say all those things.

JAMES

So, what was it like to win that award which has been given to some really talented people? That’s quite an honour.

CHRISTOPHER

Huge honour. Huge. And yeah, just the other night Denise Clarke was given that same honour for this year. It’s a beautiful club to be a part of and I don’t take it lightly. It’s nice to be recognized for the work we do, and for the longevity, and for the decision to stay in one place and to be a part of one community. People say, “Why didn’t you go to Toronto/Vancouver/L.A./New York?” or whatever, but you know, I can have a family here and a home here and a career here, and I get to work with people from all over. And sometimes I get to go all over, so it’s a pretty sweet gig. I’m certainly not in it for the money but I feel pretty fulfilled and rewarded for the work I do.

JAMES

So, you’ve assembled a group of people and you’re starting a new theatre company called Black Radish. Why this group of people? Who are they? What brought you guys together?

CHRISTOPHER

Well, we’re all Calgary-based actors. There’s four of us. And what brought us all together was this bucket list show of Waiting For Godot. I met Andy Curtis back in our university days. He was a Loose Moose improviser and a very funny and talented guy, and then we worked together years later at Quest Theatre and at Ghost River Theatre and One Yellow Rabbit, and we’ve been actors-for-hire and have crossed paths several times over the years. And at some point, maybe ten years ago, we talked about Waiting for Godot. And it was a play we both loved and wanted to do. And then maybe about five years ago – maybe even longer – we said, “Let’s get together and just read it for fun.” And I can’t even remember who the other people were who helped us out that first time, but over the years people came and went, and once or twice a year we would read it and talk about how great it would be to do this play. We’d say, “We should talk to the artistic directors and pitch it and see if anyone would want to do it!” And no one did but, we kept on talking about doing it. And Duval Lang was the next person to come on board, and he would have us over to his place to have coffee and read the play and talk about it. And then Tyrell Crews is the fourth member of Black Radish. He had worked at the Stratford Festival a few years ago and saw an awesome production there and he said, “Man, we could do a play like that easily in Calgary, with the talent here.” And for some reason he thought of me and Andy as the main two guys and we said, “It’s funny you should say that, because we’ve been reading this play for years!” And he went, “Seriously?” So he said, “I’m going to apply for the rights – let’s do it.”

Tyrell Crews is Lucky in The Black Radish Theatre Production of Waiting for Godot by Samuel Beckett. Photo by Andy Curtis.

JAMES

What is it about the play that you find so compelling?

CHRISTOPHER

When I read it in high school I didn’t get it, but I liked the simpleness of it but also the complexity of it. And then the summer before I started at U of C, I saw a production of Waiting for Godot at the Pumphouse that Loose Moose did. Keith Johnstone directed it. John Gilchrist the restaurant reviewer was Pozzo. Dennis Cahill and Mel Tonkin were the main two guys. Frank Totino was Lucky and I believe Keith Johnstone’s wife at the time, Ingrid, played The Boy. And that production blew my head off, and I just went, “This is astounding.” It was so simple. It was so funny. It was so moving. It was a perfect little jewel of a production. And a lot of people loved that production. And I’ve since found out that Keith Johnstone had a huge history with Samuel Beckett. He saw the original English language production in 1955 and loved it. And changed his career to become a theatre guy. And a year later he was the playwright in residence at the Royal Court Theatre, and Samuel Beckett came to London with his next play. And Keith Johnstone met him and they became friends. Keith was one of the first people he allowed in to watch his rehearsals. And Keith’s directed the play maybe eight times since then, including the one that I saw. So Tyrell and I went and chatted with Keith last month and got some of his thoughts on the play and Beckett and that world, How many guys are there in the world who knew Samuel Beckett that are still around? And he’s here in Calgary!

JAMES

Let’s talk a little bit about Godot and that world. How are you approaching it? What do you think of it? I’m curious – what are your thoughts?

CHRISTOPHER

Well, to me, it’s a good play because it’s open to interpretation both for the artists doing it and for the audience watching it. I think what I love about it is its open-endedness, and its ability to speak to whomever. That was one of the nuggets that Keith said. He said, “When I was twenty and I watched this play I went, ‘This play is about me.’ Now, when I read it, this play is about me now as an old man as opposed to a young artist.” And it’s been famously done in Sarajevo and South Africa and prisons, and so it speaks to people everywhere, especially if it’s a good production. And it spoke to me when I saw it and it speaks to me now. It’s deliciously vague and malleable and thought-provoking and funny. And it’s easy I think to veer off and to make it too sombre, or to make it too silly and funny. It’s a tricky balancing act. And that’s what I loved about that Keith Johnstone Loose Moose production because it was moving, funny, and thought-provoking. It was all those things good theatre should be.

Duval Lang is Pozzo in the Black Radish Theatre Production of Waiting for Godot by Samuel Beckett. Photo by Andy Curtis.

JAMES

How would you describe Vladimir and Estragon’s relationship in the play? You’re playing Estragon and Andy Curtis is playing Vladimir, correct?

CHRISTOPHER

Yeah. You know, it took me a long time to start to see any real difference between the two. They’re two kind of clown-like tramp-like figures that are down on their luck and have health concerns and personal concerns and frustrations with each other, but also a long history with each other. And I think as I read more about them and read what other people thought of them I started to figure out that Vladimir is more of the thinker. He’s more looking to the sky, and he’s more thoughtful and intellectual and in his head. And Estragon is more rooted to the ground and hungry and tired and forgetful. And so he’s more earthbound and Vladimir is more outward bound. And they know how to push each other’s buttons, and they know how to support each other. And then there are moments of, “I honestly can’t go on. I don’t think I can do this anymore.” Or, “I think it would be better if we parted,” and those kind of moments hit you like a ton of bricks, because who hasn’t thought about that?

Andy Curtis is Vladimir in the Black Radish Theatre production of Waiting for Godot by Samuel Beckett. Photo by Andy Curtis.

JAMES

What are you hoping to discover in the rehearsal process for the play?

CHRISTOPHER

Well, we’re all really excited to be working with Denise Clarke as our director and our design team because they’re all super talented and have a lot of intellectual rigour and theatrical knowledge to help bring this story alive. Denise has talked about wanting to honour the text and the history of the play, but also to give people something unexpected. We want to shake things up a bit. And Denise, with her work as a choreographer and a writer and a performer, has a lot of ideas around how to be in a space, especially in the Grand which is a beautiful space to be in.

Andy Curtis as Vladimir and Tyrell Crews as Lucky in the Black Radish Theatre production of Waiting for Godot by Samuel Beckett.

JAMES

You know what’s really interesting to me about the text is that it doesn’t really give you much of a clue about the world outside of this tree and rock and road. We don’t know the truth of the world outside although we do know there’s the Eiffel Tower, but this bleak landscape might be more normal than the exception.

CHRISTOPHER

Yup, that’s true and it’s a field day for designers too, because how do you include those elements? How do you make those elements? What kind of a tree is it? What kind of a rock is it? Some people ignore that, and put it inside of a concrete bunker, and some people ignore the stage directions and have them dress totally different. So it’s what you pick and choose, and what you focus on and what you share that makes your version come alive or not.

JAMES

And your designer is Terry Gunvordahl.

CHRISTOPHER

Yes. Set and lighting designer.

JAMES

The last thing I saw on stage that was Beckett was about eight years ago when he did Krapp’s Last Tape. He was acting in it and Anton deGroot was at Lunchbox at that time doing the RBC Emerging Director’s program and that was the play he had chosen to present. And I went to see it and it was a really good production and Terry was really good in it.

CHRISTOPHER

I’m sorry I missed that. Terry is a big Beckett fan and he’s done this play before – an amazingly well-remembered production in Kamloops years ago with some great actors in it including Jonathan Young from The Electric Company and Betroffenheit which was a big hit all across the world actually. So, Terry knows this play well and he’s really pumped to do it again here at the Grand especially because he used to design shows here when Theatre Junction was more active producing their own work.

Anton Matsigura is The Boy in the Black Radish Theatre production of Waiting for Godot by Samuel Beckett. Photo by Andy Curtis.

JAMES

So, why should people come and see the show?

CHRISTOPHER

It’s a new company to support, and it’s in a space that’s revitalized and welcoming again. It’s a play that changed the theatre landscape in the world, and makes you entertained in the moment, and lets you reflect on your own situation and the world that you’re in. And that’s the other kind of marker for this play is that existential, you know, absurdist world view of “There’s no God, there’s no religion, there’s nothing to believe in so why are we here? What’s the point of life? What’s the point of continuing on?” This play swims in those waters too. All those kind of questions that sometimes wake us up in the middle of the night or strike us at our most insecure moment.

Waiting for Godot
a tragicomedy in two acts
By Samuel Beckett

Cast

Estragon: Christopher Hunt
Vladimir: Andy Curtis
Pozzo: Duval Lang
Lucky: Tyrell Crews
The Boy: Anton Matsigura

Production

Director: Denise Clarke – Assistant Director: Sarah Wheeldon – Set & Lighting Designer: Terry Gunvordahl – Costume Designer: Ralamy Kneeshaw – Sound Design & Composition: Peter Moller – Stage Manager: Meredith Johnson – Photography and Graphic Design: Hugh Short – Web Site: Keith Watson

BLACK RADISH THEATRE is a new Calgary-based theatre company, founded by Duval Lang, Andy Curtis, Tyrell Crews and Christopher Hunt, and is committed to revisiting relevant theatre classics. Waiting for Godot by Samuel Beckett is their first bucket list show and is being performed at The GRAND – Calgary’s theatre since 1912.

Black Radish Theatre presents Waiting for Godot – a tragicomedy in two acts – by Samuel Beckett. April 25th to May 12th at The GRAND. Evening performances Tuesday through Saturday at 7:30 pm with Saturday and Sunday matinees at 2:00 pm. Tickets are just $46.00 for adults and $30.00 for Students and Seniors. Tickets are available online at www.blackradishtheatre.ca

Hamlet: A Ghost Story – Actor Ahad Raza Mir

Posted on March 15, 2019June 25, 2024 by James Hutchison

“I believe that no matter what part we’re playing we have a part of ourselves in that character so you need to find that part of you that fits best with the character. It’s just you at a new address. It’s you exploring yourself in a different place and I think that’s the only way for me to make it honest. In school and in rehearsals, they always go, “Be honest. Be honest. Be honest.” And when I read the script – the first time I read it as me. I’m not reading it as a character. I’m reading it as I would read it. And I think the only way to bring out an honest performance is for you to bring it out from inside. I don’t think it makes sense to put something on because then that becomes acting.” – Ahad Raza Mir

Ahad Mir as Hamlet in the Vertigo Theatre, Shakespeare Company, Hit+Myth Production of Hamlet: A Ghost Story. Adapted by Anna Cummer. Directed by Craig Hall. Set & Costume Designer Hanne Loosen. Lighting Designer David Fraser. Citrus Photo

Last September, I interviewed Haysam Kadri the artistic director of the Shakespeare Company about their season of Hamlet which included, Rosencrantz and Guildenstern are Dead with ATP, Hammered Hamlet at the High Performance Rodeo in January, and now Hamlet: A Ghost Story in partnership with Vertigo Theatre. The Shakespeare Company and Vertigo had previously collaborated on a highly successful production of Macbeth and were looking to repeat that success.

Now, Calgary audiences will have a chance to see a thrilling new adaptation of Shakespeare’s most famous play as the tormented prince of Denmark seeks vengeance for the murder of his father at the hands of his Uncle Claudius. The tale is a ghost story, a detective story, and a revenge story all packed into one unforgettable night of theatre. This is a Hamlet for the modern age as The Shakespeare Company, Hit+Myth Productions, and Vertigo Theatre team up for a ghostly re-imagining of one of the Bard’s greatest works.

This is part two of a two-part series about Hamlet: A Ghost Story. In part one, I interviewed Director Craig Hall and Playwright Anna Cummer, who penned the adaptation, about their unique take on one of Shakespeare’s most famous and most produced play. In part two I sit down with actor Ahad Raza Mir who has returned to Calgary from his native Pakistan to play the title role and to talk with him about his approach to acting and his thoughts about playing Hamlet.

JAMES HUTCHISON

Ahad, you’ve achieved a lot of fame in your native Pakistan, but you’re returning to the Shakespeare Company here in Canada for an opportunity to play Hamlet. So, what is so compelling about the character that brought you back to the stage here in Calgary?

AHAD RAZA MIR

In high school and university, you always hear the name Hamlet. You always hear “To be or not to be” and you kind of go, “What’s the big deal? And then you read it, and you go, “Wow, this is a beautiful piece of literature.” And I think as you mature as an actor and the more work you do you realize that Hamlet is a kind of rite of passage that you have to cross. And for me as an actor, I’ve been doing a lot of film and TV and I think this was the perfect opportunity for me to come back and explore how I’ve matured and how I’ve developed as an actor.

And I also have some very selfish reasons to come back to a place where I originated. The Shakespeare Company and Calgary is what has shaped me to be the actor that I am – not even just the actor but the person that I am. You know I think this place is what groomed me. Canada groomed me. Being at the University of Calgary. Living in Canada.

JAMES

Your father, Asif Raza Mir, is also a well-known actor and has had a high degree of fame. Did he have any words of advice to you that have helped you balance the work with the fame?

AHAD

He has advised me about how to handle people. How to handle crowds. But he’s tried to make it a point for me to figure it all out on my own, and that’s because he thinks I tend to be easily influenced, and he thinks that the realities I see about showbiz I need to realize on my own, or they won’t truly make sense to me.

And he comes from a different time. A time when there was just one television channel in Pakistan, so if your show was a hit then the whole nation went crazy about you. There was a show my dad did back in the eighties and the streets would literally be empty because everyone was home watching that show. Now the time is very different. There are multiple channels. There are digital platforms. But the exposure is just as high now because of social media. Sometimes I feel there’s this constant need to inform your fans about what you’re doing on social media whereas my argument is if you’re watching me in a show where I’m in the 1940s and the next second you’re seeing me at the beach with a coffee in my hand it throws your audience off.

JAMES

Breaks the illusion of what you’re trying to create as an actor.

AHAD

I want people to appreciate the performances and appreciate the stories.

JAMES

Focus on the stories and not necessarily on what you’re having for lunch.

AHAD

Exactly.

JAMES

You know Hamlet spends a lot of time contemplating life and thinking about existence and looking up into the stars and examining motivations and what’s going on. Is that a characteristic you have yourself? Do you find yourself contemplating all those big questions?

AHAD

I have. I’m someone who struggles to decide between shampoos and what to eat, so I hope Hamlet can teach me something. Although, if you read the play he doesn’t really figure it out in the end, but I think, as Craig our director has mentioned, he’s a man of the new age. And that means you have to give up certain values and certain customs of a time before and then kind of adapt to new things. So, that’s the struggle for him in the play. I know how I should act but there must be some other way for me to approach this. And that option is what confuses him. That thought is what confuses him. And similarly for me, when I have too many options about deciding what do I do with my life that’s a struggle. Being at the University of Calgary I remember I was in business. I was a business student, and I was still doing shows with the drama department there. And I was going, “I want to do business, but I love theatre.” And then one day I went, “I need to decide.” And that decision was so difficult to make but when I finally made it – when I switched to drama – my life changed.

JAMES

Do you think that’s one of the appeals then of Hamlet? The fact that he struggles with questions that we in our lives also struggle with and as an audience as we’re watching him struggle we somehow relate to that?

AHAD

Yes, because that’s what being human is all about. It’s about making choices. Making mistakes. Making the right decisions. It’s all about the right person to get married to. The right choice for post-secondary. It could be anything, and I think that’s relatability. He’s struggling to make one choice – being that’s it’s to murder somebody or not.

JAMES

It’s a big choice.

AHAD

It’s a big decision, and I think we all struggle with that on a daily basis.

JAMES

What are you hoping to bring to your Hamlet?

AHAD

I’m hoping that I can bring something relatable to the new age of viewers. To make him feel contemporary so that the eighteen-year-old coming to see the show from first-year university can get it and feel what Hamlet’s feeling. Plus, I’m just trying to make him human.

JAMES

I’m curious when you’re playing a character like Hamlet how much of your performance do you know going in and how much is developed through the rehearsal process?

AHAD

I think I had a very clear idea of what I wanted to do with Hamlet. I wanted him to be, for lack of a better word, a bro.

JAMES

Hey bro.

AHAD

Hey bro, what’s up? You know somebody you want to hang out with. And as soon as we sat down and started doing the table work, I found out the text supports that he is this kind of melancholy, brooding, depressed soul. And I think he’s almost like a child who is feeling certain emotions for the first time.

JAMES

Because he’s lived this charmed life.

AHAD

A perfect life.

JAMES

For thirty years he’s been the son, he’s been the prince, and he’s been allowed to study and then suddenly his dad is murdered.

AHAD

And it’s not just one thing. It’s mom’s married your uncle. Your uncle’s killed your father. You’ve seen the ghost of your dad. And then there’s Ophelia and all these things are happening and he’s feeling these emotions for the first time. I actually think he’s feeling anger and grief all together at once. And feeling it for the first time again like a child that’s getting upset and all they can do is scream because they don’t know what to say and they don’t know what to do so that’s kind of what he’s going through.

JAMES

So, the new production at Vertigo is a ghost story.

AHAD

Yeah.

JAMES

And I’m wondering if you yourself believe in the supernatural and have you ever had any encounters with spirits or ghost?

AHAD

I have. I have. I didn’t really believe in them in the beginning, but I remember one time I visited my grandmother’s grave and I hadn’t seen it before and I went on my own. And I couldn’t find it, and so I went to the guy who knows whose grave is whose and I said, “I’m looking for this lady.” And he goes, “Okay let me go look.” And he goes back to his little office and he’s looking at his books, and I felt this kind of pull. And I’ve never been here. I felt this pull towards this one grave, and I just went up, and I approached it, and I didn’t think anything of it at the time. And I was looking at it and there were some rocks on it and stuff and some little painted flowers, and the guy comes up and he goes, “Okay, here’s the number.” And I’m like, “Okay, where is it?” And he goes, “It’s right here. You found it.” And I just said, “Okay.” I said my prayers and went back to the car and I just started crying because that feeling…was terrifying to be honest…it was just scary. Out of hundreds of graves I just started walking one way and there it was.

JAMES

You feel that she reached out to you?

AHAD

Yeah, I am a hundred percent sure, but it was freaky.

JAMES

She must be happy for your success.

AHAD

I hope so, yeah.

JAMES

So, how do you stay grounded and focused now that you’re dealing with the fame and you’re dealing with trying to focus on the work?

AHAD

I think my father is a big part of that because his father was a cinematographer and a director so fame has been part of the family for a long time. So, any time I let it go to my head my Dad goes, “Big deal.” And my Dad, for example, is the same guy in the house that he is outside when he’s working and when he’s interacting with fans. Whereas I’ve seen people one way outside of work and when they’re at work they’re something else. So, I think seeing that has made me realize that at the end of the day it’s all about the work and being true to yourself and being honest.

JAMES

So, how do you approach the work?

AHAD

I believe that no matter what part we’re playing we have a part of ourselves in that character so you need to find that part of you that fits best with the character. It’s just you at a new address. It’s you exploring yourself in a different place and I think that’s the only way for me to make it honest. In school and in rehearsals they always go, “Be honest. Be honest. Be honest.” And when I read the script – the first time I read it as me. I’m not reading it as a character. I’m reading it as I would read it. And I think the only way to bring out an honest performance is for you to bring it out from inside. I don’t think it makes sense to put something on because then that becomes acting.

JAMES

Tell me about the actors you’re working with here – what are you excited about in terms of working with these folks?

AHAD

There’s a connection that is sometimes lacking in film and TV. Not to put film and TV down. I mean, it’s because of film and TV that I am where I am. But I think the connection you create – I won’t even say with another actor – I’ll say with another individual – another human being during rehearsal and during a scene, there’s a kind of magic behind it. There’s no retake. The moment is the moment. And I’m working with actors I remember seeing in productions when I was in University, and when I was starting out professionally, and now I’m getting a chance to work with them and that’s exciting.

JAMES

Why should we come to see the show?

AHAD

I think at the end of the day Shakespeare is always relatable. But the reason you should come watch our show is because we’re going to give it not just a modern contemporary spin but then there’s the whole ghost element, and the supernatural, and the thriller vibe that comes in with Vertigo. We’re doing it in a way that I don’t think has been seen before, and I think it will be interesting because you’ve got somebody who is coming from a very different background performing Hamlet. And I can’t believe I forgot to tell you this, but one of the other reasons I’m back is that you know in Canada we’re really focused on diversity and diversity on the stage. You know our cast should reflect our society and even though we’re good at it I don’t think we push that enough. I remember being in University and there were a bunch of white people and me, and I know so many Pakistanis and Indians and whatever it might be that live in Canada and want to explore music, dance, art and all these things and sometimes it’s sad to say their parents don’t let them explore those avenues even though being in Canada is one of the best places to do it because outside those options aren’t there. So, I want to set an example for the young minorities and say, “Hey if I can do it you can do it.” You know maybe I’ll inspire somebody to go, “I don’t want to do biomechanics. I want to learn how to play the guitar and do music.”

JAMES

And I don’t think the arts and theatre are going to survive unless we diversify the audience and in order to diversify the audience one of the things we have to show is people of different backgrounds performing these roles.

AHAD

And I think Canada is still doing a good job about that, but the issue is even before all that. It starts at the home. It starts with allowing that child to explore what he wants to explore. And maybe some young Pakistani guy goes, “Hey, he did it, why can’t I do it?” And hopefully, he goes and argues with his parents and hopefully his parents will be supportive.

JAMES

But first he’ll take business and then he’ll realize he’s in the wrong thing.

AHAD

Yeah, but if I didn’t do that, I wouldn’t have realized it. So, maybe that’s what it takes.

***

***

CAST
Ahad Mir as Hamlet
Joel Cochrane as Ghost, Player King, Priest
Meg Farhall as Marcella, Rosencrantz, Player Queen
Karen Hines as Polonia
Allison Lynch as Horatia
Curt McKinstry as Claudius
Behrad Moshtagh as Laertes, Guildenstern
Graham Percy as Barnardo, First Player, Grave Digger
Natasha Strickey as Ophelia
Daniela Vlaskalic as Gertrude

CREATIVE TEAM
Craig Hall, Director
Anna Cummer, Playwright
Hanne Loosen, Set & Costume Designer
David Fraser, Lighting Designer
Peter Moller, Sound Design
Karl Sine, Fight Director
Jane MacFarlane, Text & Vocal Coach
Claire Bolton, Stage Manager
Chandler Ontkean, Assistant Stage Manager
Derek Paulich, Production Manager
Rebecca Fauser, Assistant Director

***

Vertigo Theatre has entertained audiences for 42 years with high-quality programming, evolving into a truly unique organization. We are Canada’s only fully professional theatre company dedicated to producing plays based in the mystery genre. Vertigo is located at the base of the Calgary Tower in the heart of downtown Calgary and is home to the organization its two performance venues and the BD&P Mystery Theatre Series. Our artistic mandate allows exposure to a broad demographic and our diverse audience includes all walks of life. We build strong partnerships through our various student and professional outreach initiatives that are designed specifically to help meet our community investment objectives. Vertigo Theatre is a member of the Professional Association of Canadian Theatres (P.A.C.T.) and engages artists who are members of the Canadian Actors’ Equity Association.

The Shakespeare Company is Calgary’s lean and mean classical theatre company, highlighting the best of the Bard in all his comedy, tragedy, and bawdiness. Founded in 1995, by Richard Kenyon and LuAnne Morrow, TSC has brought the Bard alive for Calgarians through both Shakespeare and Shakespeare inspired plays. We are committed to making Shakespeare accessible through innovative performances and inspired directing.

Hit & Myth Productions is a professional independent theatre company based in Calgary, Alberta. Hit & Myth was established in 2006, and since that time has produced over 30 professional shows, engaging numerous local actors, directors and designers. Hit & Myth has produced musicals, comedies and cutting edge dramas, a genre that we lovingly call “commercial alternativism.” From musicals like Urinetown and Evil Dead, to hard-hitting dramas like Martin Mcdonagh’s The Pillowman and David Mamet’s Race, to dark comedies like Neil Labute’s reasons to be pretty; to vibrant adaptations of both Shakespeare (Titus Andronicus and All’s Well That Ends Well) as well as Shakespeare inspired (William Shakespeare’s Land of the Dead and Equivocation) works. Hit & Myth seeks to entertain, while always packing a serious theatrical punch. Hit & Myth collaborates with small to mid-sized sized theatre companies and independent artists to co-produce theatre that is provocative, modern, sensational, and above all else, entertaining. Our productions strive to reflect the dynamic and diverse theatrical community of Calgary and Calgary audiences.

Interview Natascha Girgis – A Foray into Silly

Posted on March 6, 2019November 23, 2024 by James Hutchison

“I like farce. I like the challenge of farce. I like the pace of farce. The fast thinking. I like the door slam timing. The mechanics of it. I like the hard math of a good farce. I love Shakespeare. Your mouth feels good just saying those incredible words and negotiating those fantastic ideas and the colourful language and the use of metaphor from such a rich writer.”

Stage West is serving up a healthy dose of farce with a talented cast in their current production Drinking Habits 2 Caught in the Act. This is a sequel to the hugely popular Drinking Habits that Stage West produced a couple of years ago and features most of the original cast from that production.

In the first play the Sisters of Perpetual Sewing were trying to save their convent this time around they’re trying to raise $5,000 to save an orphanage and according to Sister Augusta, played by Natascha Girgis, and Sister Philamena, played by Esther Purvis-Smith, the best way to do that is to secretly produce a batch of their much in demand wine. In addition, to the wine, Mother Superior played by Elinor Holt and Father Chenille played by Robert Klein decide to raise the necessary funds by putting on a play which of course doesn’t go smoothly. And as a farce there are plenty of other plots in the works and secrets to be revealed as the Sisters of Perpetual Sewing try to do God’s Holy work.

I sat down with Natascha Girgis to chat with her about the production and her approach to comedy.

Esther Purves-Smith as Sister Philamena & Natascha Girgis as Sister Augusta in the Stage West Production of Drinking Habits 2 Caught in the Act by Tom Smith. Directed by J. Sean Elliott

JAMES HUTCHISON

Natascha, is there a different approach you take when performing comedy as opposed to drama?

NATASCHA GIRGIS

I don’t think so. How I prepare depends on the piece. If there’s a historical precedent or if it’s an individual who has existed in the past then there’s research to be done. If it’s The Bard then obviously there’s a lot of book work. For comedies I find the work happens in the room. If it’s a prop-heavy show or a prop-heavy role where I need to manipulate a lot then the sooner I can get off book and have my hands available and be an active listener the better. That lets me react in the moment in the room to the other actor or to the circumstances without thinking, “Oh, what’s my next line?”

JAMES

Are there any famous comic actors that you admire that you kind of pattern yourself after? Or have been a great influence.

NATASCHA

My body is tattooed with Buster Keaton.

JAMES

When did you discover Buster Keaton?

NATASCHA

I might have been eighteen or something like that and it was purely by accident. I was working at the Plaza Theatre in Kensington and we had access to whatever movies we wanted to go see. I meant to see a Danish film, but it didn’t come in because of shipping so they put their Buster Keaton festival on early and I thought, “A silent film, really?” So, I stayed and saw Pale Face which was one of his shorts and my head exploded and I thought who are you? And I went every day after that to every one of the festival dates and have followed up ever since.

Buster Keaton – American actor, comedian, film director, producer, screenwriter, and stunt performer.

JAMES

What is it about Keaton’s performance that you find so mesmerizing?

NATASCHA

He lives, eats, breathes his medium. His work was everything. It defined who he was. He’d been working since he was an infant on vaudeville with his parents. He never went to school. His training was in the theatre. It was on the boards. It was a very rough knockabout physical act. His physical facility is incomparable, and he dates well because in his films – he’s man against the machine – he’s man against the world. His stuff is still funny and the risks that he took were astonishing. I own virtually every film and virtually every book that’s ever been written on him and I’m a member of both the British Society and the American Society of Keaton fans.

JAMES

So, what plays do you like? What makes you laugh?

NATASCHA

I like farce. I like the challenge of farce. I like the pace of farce. The fast thinking. I like the door slam timing. The mechanics of it. I like the hard math of a good farce. I love Shakespeare. Your mouth feels good just saying those incredible words and negotiating those fantastic ideas and the colourful language and the use of metaphor from such a rich writer.

JAMES

I’m interested in how you approach physical comedy yourself and use that aspect in your performance.

NATASCHA

Very technically. I’ll throw an idea out there. I’ll think about the gag and how to physically orchestrate it and how to tell the story with your body and if there’s a fall or some sort of mechanical element required. And then I just clean it and clean it and clean it and try to make it very specific and very precise. And a Keatonism that I try to apply is think slow act fast. So, let the audience catch up with you but not get ahead of you and then surprise them if you can. And my approach is to give one hundred percent. Don’t mark it. If you mark it your body learns nothing. You have to give one hundred percent the entire time you’re in rehearsal.

JAMES

What do you mean by mark it?

NATASCHA

It’s often applied to dancers – sometimes they’ll go full out and sometimes they’ll just mark it – where they’re not doing it full out. I find you train your body if you do it full out every single time. It helps train your body for what is necessary in that moment.

JAMES

Let’s talk a little bit about the show you’re in now. What’s the play about?

NATASCHA

It’s about the sisters of perpetual sewing trying to raise some money to help save an orphanage. And everybody’s doing their best to assist with that because the most important thing is saving the orphanage, but everybody has a different idea about how to do that and so there’s a little bit more subterfuge involved in getting all that done.

JAMES

You’re working with a lot of the same cast from the first play what’s that like?

NATASCHA

Many of which are my really good friends in life, and they approach the work the same way I do. There’s always another laugh to be mined, or if something is starting to go a little awry and you’re not getting the same laugh you used to you can talk about it. They never stop working because every show means something. Every show is important because you have a paying audience who deserve the same performance that you gave at the beginning of the run. And hopefully, it’s more informed. Hopefully, there’s more gags. You always keep working. And they approach it the same way I do which is why I like working with them.

JAMES

It’s interesting to me to hear you say the comedy continues to develop and mature. How does new material work its way in over the course of a run?

NATASCHA

You still need to be consistent but if there’s room for it and you’ve been given license by the director that within a certain set of parameters you can add something there might be a gag that can be mined. You’ll try something and it’s small and you’ll hear some laughter about it, but you watch to make sure that you’re not stepping on someone else’s moment. The more experience you have hopefully the more aware you are of everything that’s going on and when you can add something and when you shouldn’t because you don’t want the focus to suddenly shift to you when it shouldn’t be on you, to begin with. That’s just being responsible. That’s being considerate.

JAMES

The nice thing about this play is that there are several roles for women and so I’m just wondering with the length of time you’ve been in the theatre performing different things are you starting to see a move towards better parts and more parts for women?

NATASCHA

There seems to be a growing awareness from producing bodies to include more female writers and to mentor more female writers not that women are the only ones writing parts for women but there seems to be a better inclusion of women where possible. Elinor Holt said it very succinctly the other day that sometimes in a play it’s just an occupation, but we always presume it has to be played by a man. Like you’ll have a judge, or you’ll have a police officer and for our now day sensibility our audience would buy it if you say – okay here we have the judo master and the judo master is a woman.

JAMES

So, why should somebody come and see your show? What would be your sales pitch?

NATASCHA

Don’t be afraid of the sequel if you haven’t seen the first one. You’re going to get a fast-paced broad comedy with a lot of experienced performers who enjoy working with one another and hopefully that makes the comedy infectious. It’s a great night out. It’s not Strindberg on Ice. It’s not a long piece of theatre. It’s a short little foray into silly.

***

Drinking Habits 2 Caught in the Act by Tom Smith and directed by J. Sean Elliott runs until April 14th. The show stars Natascha Girgis, Charlie Gould, Elinor Holt, Robert Klein, Jeremy LaPalme, Kate Madden, Esther Purves-Smith and Luc Trottier. Tickets are available by calling the box office at 403.243.6642 or online at www.stagewestcalgary.com

***

Additional Media

Review: Stage West’s DRINKING HABITS 2 is Easy to Swallow by Vicki Trask Broadway World Feb. 21, 2019
Review: Stage West’s Drinking Habits 2: Caught in the Act a tip top, fast and funny farce by Caroline Russell-King – the YYSCENE, February 21, 2019

This interview has been edited for length and clarity.

Deathtrap at Vertigo Theatre: An Interview with director Jamie Dunsdon and actors Mark Bellamy and Tyrell Crews

Posted on January 30, 2019July 13, 2023 by James Hutchison

Tyrell Crews and Mark Bellamy in the Vertigo Theatre Production of Deathtrap by Ira Levin. Directed by Jamie Dunsdon, costumes by Hanne Loosen, set by David Fraser, Photo by Diane + Mike Photography

Mark Bellamy, former artistic director of Vertigo Theatre, returns to the stage to take on the role of Sidney Bruhl in Ira Levin’s intensely entertaining thriller Deathtrap. Joining him on stage is Tyrell Crews as aspiring playwright Clifford Anderson, Barbara Gates Wilson as Bruhl’s wife Myra Bruhl, Karen Johnson-Diamond as psychic Helga Ten Dorp, and Kevin Corey as attorney Porter Milgram. The production is being directed by Jamie Dunsdon.

Deathtrap is one of the longest running mystery thrillers to ever hit Broadway and even though the play premiered more than forty years ago it’s as fresh and funny and thrilling today as it was the day it opened. The only problem is that because the play is filled with so many twists and turns and surprises you have to talk about the play without talking about the play. The only thing I can tell you, without revealing any spoilers, is how the play begins.

Sidney Bruhl, once a successful Broadway murder mystery playwright, has fallen on hard times after numerous flops, so when he receives a brilliant murder mystery play in the mail from a former student, Sidney begins to contemplate murderous thoughts about how he might steal the play for himself. I sat down with director Jamie Dunsdon and actors Mark Bellamy and Tyrell Crews to talk about weapons of choice and Vertigo Theatre’s production of Deathtrap.

Barbara Gates Wilson as Myra Bruhl and Mark Bellamy as Sidney Bruhl in the Vertigo Theatre Production of Deathtrap by Ira Levin. Directed by Jamie Dunsdon, costumes by Hanna Loosen, set by David Fraser, Photo by Citrus Photo.

JAMES HUTCHISON

I’m going to start off with a hypothetical question. If you had to commit a murder – not saying that you would – what would be your weapon of choice?

MARK BELLAMY (Without hesitation)

Poison.

JAMES

Poison?

MARK

I have mine all planned out.

JAMES

Who’s the victim?

MARK

Oh, I can’t tell you that.

TYRELL CREWS

You’re looking at him.

JAMIE DUNSDON

It’s been a rough week. (Everyone laughs)

MARK

After running this company for ten years, you just amass so much knowledge that I actually figured out how I would do it. There’s a plant. I’m not going to say what the plant is, but you can grow it. It’s very common and there are different varieties of it. You can grow it in your garden and if you take the root and you soak it in vodka it makes it a tasteless, odourless, and almost untraceable poison that mimics a heart attack.

JAMES

It’s kind of disturbing that you’ve given this so much thought.

MARK

There’s even more. I figured out how I was going to use that poison.

TYRELL

I’m suddenly second-guessing our post-show martinis.

MARK

No, no, no – just never accept a cup of coffee from me – that’s the deal!

JAMES

Tyrell?

TYRELL

You know I haven’t given it as much thought as Mark.

MARK

Who has a detailed plan.

TYRELL

Well, like you said you lived in this building. I don’t know how I’d do it but what I will tell you is that last night I dreamt that I actually killed somebody with my bare hands – strangling – which was not even the major part of the dream. The major part of the dream was covering it up. There was a cell phone involved and I had to destroy the cell phone and the sim card itself and make sure the sim card was absolutely disintegrated because that’s the only thing that would have traced that individual to me.

MARK

This is exactly our characters.

JAMES

Good casting.

TYRELL

The violent one.

MARK

And the plotty one.

JAMES

Jamie, do you have a weapon of choice?

JAMIE

I do, but it’s for a very specific person. I would use peanuts.

MARK – TYRELL – JAMES

Ahhhh.

JAMIE

Yeah, I’d take them for a walk out in the mountains. Somewhere far away from their EpiPen and then I’d throw some trail mix their way. I would make it really pedestrian. Very every day.

Mark Bellamy as Sidney Bruhl, Barbara Gates Wilson as Myra Bruhl, and Tyrell Crews as Clifford Anderson in the Vertigo Theatre Production of Deathtrap by Ira Levin. Directed by Jamie Dunsdon, costumes by Hanne Loosen, set by David Fraser, Photo by Citrus Photo

JAMES

So, then let’s talk about the play. Deathtrap is one part thriller, one part comedy, and one part mystery and I’m wondering how do you balance all those elements so that we’re laughing where we’re supposed to and we’re screaming where we’re supposed to?

JAMIE

I think the script does most of it for us. The script is very well constructed, and it’s tried and tested. The playwright doesn’t drop in laughs except to break the tension and I think we just follow that lead for the most part. As far as the mystery and the thriller aspects go that’s more of a balancing act and we’re still working on that in rehearsal. It’s all about who knows what and when and then when do we want the audience to know what and when? So that’s the work – the final stage of rehearsal – we know what we’re doing but now we’re shaping the experience for the audience.

JAMES

And making sure you don’t telegraph to the audience at the wrong time what’s going on.

MARK

That’s the hardest part, I think.

TYRELL

Yeah, I think, it’s about playing these moments honestly and what’s on the page in that specific situation. I think Jamie’s done an amazing job in knowing when those secrets or the scheming are supposed to bubble up to the surface and peak through.

JAMIE

That’s right, it’s entirely volume control because we know this play so well now that – once you’re inside it – it’s hard to get back outside.

MARK

It’s super hard from the inside.

JAMES

Because you know everything.

MARK

I know everything and I think the previews will be really neat because I’m sure there’s going to be one night where we go way too far one way and then way too far the other. It’s about finding where the sweet spot is. And it’s really finite, isn’t it? It’s really particular.

JAMIE

There’s a narrow band that we need to live within and so that’s the work we’ve been doing the last couple of days and it’s a little bit subjective, right? It’s a little bit here’s how much I think we need to turn it up but I’m kind of the audience surrogate so I do my best to gage that but we could have audience members who are smarter than me and pick up on things earlier.

JAMES

And you’ve got a great cast you’re working with on this show.

JAMIE

We have a room that already understands the mystery genre because everybody in this show has worked with Vertigo multiple times which is fantastic. I’m leaning on their expertise as well, so for example, Mark caught something in rehearsal the other day that was very forensic. So, we have a room full of experts and fantastic people at the top of their craft and they’re also funny which is nice.

TYRELL

I think any hall that I have found success in is one where there’s the willingness to collaborate. It’s knowing that we’re all on the same playing field. Of course, Jamie has the final say but it’s the willingness to play and experiment which is supremely helpful for this type of play – auditioning every choice and volume level that we can.

JAMES

Now, Mark, you directed Deathtrap previously, haven’t you?

MARK

A long time ago. Sixteen or seventeen years ago. It was in 2002, I think.

JAMES

So, I’m kind of curious – you were the director and now you get to be the actor in it. Does having directed a show and now having had the chance to have aged into a part give you any additional insights?

MARK (Laughs)

It certainly gave me a familiarity with it. And when I directed it Stephen Hair was in it and Stephen was the former Artistic Director of the Pleiades.

JAMIE

And he had also directed it.

MARK

He had directed it! So there’s this weird little legacy.

JAMES

So, Jamie does that mean you’re going to be doing a female version of Deathtrap at some point?

JAMIE (Laughs)

Yes, I’m the next Sidney Bruhl.

JAMES

Mark, when you were directing it did you imagine that’s a part I want to play in twenty years?

MARK

I probably did. I fell in love with this play when I was in University. I saw the movie first and I’ve always been a fan of Deathtrap, but I don’t think back then my twenty-year-old self imagined my fifty-five-year-old self being Sidney Bruhl. I think I probably saw myself as a Clifford at some point when I was young, but that never happened.

JAMES

Tyrell, are there any particular parts that you want to play one day?

TYRELL

Hamlet is one of them. I’m a big Shakespeare guy so playing Benedict in Much Ado About Nothing with the Shakespeare Company last year was another one.

JAMES

Is Sidney in your future?

TYRELL

Ahhh, I love this play. I love this part, but it will be a very very long time before I get Mark Bellamy out of my head.

MARK

Oh dear. Oh dear. I’ve affected you.

TYRELL

In a good way.

MARK

Well, there are two moments in the show where I channel Stephen Hair. I’m not going to say where they are. I don’t channel. I homage. I homage – like I remember what Stephen did. There’s only two though.

JAMES

So, murder mysteries look at the darker side of humanity and there’s always an element of desperation to the characters contemplating murder – why do you think audiences enjoy watching desperate characters making morally questionable decisions?

JAMIE

Probably because we do it in real life. We don’t go as far down that path so, it’s delightful to see someone have that impulse and actually follow it through. There’s something a little bit cathartic in that.

TYRELL

And they’re relatable. You like these people and you’re invited into their home and you meet them and they’re very charming and you kind of fall in love with them.

MARK

And they’re funny.

TYRELL

And I think the way the plays mapped out you can see the decision making that goes into the escalation and so you can understand that decision making.

JAMIE

It’s a character-driven thriller – which you can probably speak to that more Mark because I’m not sure how common those are. This is a thriller that’s plot-heavy and it’s plot driven but the characters are all grounded.

MARK

What characterizes a thriller as opposed to a who done it is the thriller is more about the people and what they’re going to do and how they’re going to do it and not what they’ve done. A who done it is for us to figure out. A thriller is more like what are they going to do now?

JAMES

So, we’re telling people about this wonderful play and if somebody were to ask you what you’re in and you say you’re in Deathtrap – and they say well why should come I see that? What would your sales pitch be?

MARK

Directed by Jamie Dunsdon

JAMES

That’s a good reason.

JAMIE

Stars Mark Bellamy.

MARK (Laughs)

I would say that it is probably the epitome of the American thriller. Deathtrap, to me, is the American thriller version of what the Mouse Trap is to the who done it. And it’s fun. It’s funny. It will scare you. You’ll jump out of your seat and if you can stay ahead of these characters then you’re a genius.

JAMIE

I always tell people the same thing I have written in my director’s notes for the show. I was working for Craig, the artistic director of Vertigo Theatre, a couple of years ago and he had me look through something like fifty plays from the genre in a matter of months and there was some great stuff there but there was also some not so great stuff and when I read Deathtrap in the first hour of reading it I was already gasping and doing little ahahs with my cats and so if you can get that out of a read then think how good it would be on stage.

JAMES

And because you are directing this Jamie, I was wondering how significant and important do you feel getting a chance to stage Deathtrap at Vertigo is in terms of your career development?

JAMIE

It’s huge for me, but that’s half my battle right now is to not get too worried about that. I just have to applaud Craig because there’s not a lot of artistic directors who give young female directors a chance and he did and so I’m so grateful for that opportunity and really grateful for him as a mentor in my life and I’m just now trying to focus on the work and not on the monumental career step in it for me.

JAMES

Well speaking of next steps what have you got coming up?

JAMIE

Nothing I can talk about. I’m in workshops for things that are coming up at Verb and I’m in the early stages of some stuff…like early design phase of some things that haven’t been announced yet so I can’t talk about them.

JAMES

Tyrell, you’re part of a new theatre company called Black Radish and I see you’ve got a production of Waiting for Godot coming up in April. Tell me a little bit about the creation of the company and the production.

TYRELL

It’s a passion project. A huge passion project for us all. Myself, Duval Lang, Chris Hunt and Andy Curtis have been meeting and reading and discussing the play for the last three maybe four years. We shopped it around a little bit but it wasn’t a good fit with any existing company in the city so we decided to bite the bullet and give it a crack ourselves and now Denise Clarke is directing it so we have a chance to work in the Flanagan Theatre at The Grand and they want to open their doors and invite the community in and have a fresh start and that’s a big push for me as an artist and an individual with our little company.

JAMES

Mark, you’ve got a show coming up later in the year at Stage West?

MARK

I’m directing A Gentleman’s Guide to Love and Murder. It’s a Broadway musical that won the Tony Award in 2014. It’s very funny and it’s based on the film Kind Hearts and Coronets with Alec Guinness and it’s about a guy who thinks he is very poor but he discovers that he is actually the ninth in line to become Earl of Highhurst so he goes about murdering all of his relatives who are ahead of him and the great conceit in the show is that all of his family – all of the eight relatives – are played by one actor. It’s superbly funny and has really great music.

***

Deathtrap by Ira Levin and directed by Jamie Dunsdon and starring Mark Bellamy, Tyrell Crews, Barabara Gates Wilson, Karen Johnson-Diamond and Kevin Corey runs at the Vertigo Mystery Theatre from January 26th to February 24th. Tickets start at just $29.00 and are available online at Vertigo Theatre or from the box office by calling (403) 221-3708.

This interview has been edited for length and clarity. Last edited on August 29, 2019.

Interview with Barb Mitchell – Do What You Love

Posted on October 15, 2018January 27, 2024 by James Hutchison

You might know Barb Mitchell as the cohost of Calgary’s first morning show for Global back in the early nineties. Or you might remember her as Miss Calgary back in the early eighties. Or more recently you might have seen her on television as a judgmental church lady in the gritty Depression-era drama Damnation. I sat down with Barb, just after this year’s Calgary Stampede, to talk with her about her experiences as a broadcaster and her career as a stage and television actor.

JAMES HUTCHISON

So, your first experience on stage was playing Piglet from Winnie the Pooh in Junior High – certainly one of the more complex characters in the hundred-acre wood.

BARB MITCHELL

Yes, I did a deep dive into Piglet.

JAMES

Was there anything from that performance that ignited your love for the stage?

BARB

Well, I loved my drama teacher, Miss Main. She was incredible and fun, and we got to escape and experiment and I loved it – so when they didn’t have enough kids turn out for the play and she asked me to be in it I jumped in and did it.

JAMES

It’s nice to be in demand.

BARB

Yeah.

Interview with Haysam Kadri: Artistic Director The Shakespeare Company

Posted on October 8, 2018April 19, 2024 by James Hutchison

Haysam Kadri Artistic Director of the Shakespeare Company talks about Hamlet, theatre, and just how the Shakespeare Company’s Madness in Great Ones season came about. Hamlet will be haunting several Calgary stages over the coming year as The Shakespeare Company along with Hit & Myth Productions have partnered with Vertigo Theatre, The High Performance Rodeo, and Alberta Theatre Projects, to bring Calgary audiences four different tellings of the melancholy Dane’s tragic tale. It’s a full season of Hamlet!

JAMES HUTCHISON

I was wondering as the Shakespeare Company what are some of the challenges you face mounting a large cast show with a really short rehearsal period?

HAYSAM KADRI ARTISTIC DIRECTOR OF THE SHAKESPEARE COMPANY

We have the best mandate and the worst mandate at the same time because we always have to populate the stage with ten to fifteen people which always has its challenges. Anytime anybody does Shakespeare you never have enough time, but what the Shakespeare Company has found out is that brevity is the soul of wit. When you trim some of the fat that Shakespeare gives you we find it makes the plays more accessible to an audience and we find that it’s better for the process technically of rehearsing and putting up a play. Because it’s not a kitchen sink drama. There are a lot of things going on. There are supernatural elements. There’s war. There’s fight scenes. There’s these extraordinary characters in extraordinary circumstances.

JAMES

These are big stories.

HAYSAM

They are big stories. It’s never easy to put them up in three and a half weeks let alone five weeks or six weeks. When it comes down to it it’s about money and ultimately you have to be lean and mean which is our company motto and as efficient as possible.

JAMES

When you’re mounting a play you’ve done before and you’re familiar with it as an actor or director does getting a second or third chance at it make it easier to mount?

HAYSAM

The first time we remounted a play was when we put on The Scottish Play with Vertigo Theatre. The Vertigo patrons just loved it and so what happened was they snatched up a lot of the tickets and then our patrons came on board and the run was already sold out. So, it was incumbent upon the Shakespeare Company and myself to reprogram it for the following season. Number one because there were a lot of our patrons that didn’t get a chance to see it and number two as a company for efficiency. The sets were already built. The production is in hand. The rehearsal process is shortened. And so it was a no-brainer and you know it’s been the most successful show in the history of the company.

JAMES

You took over the company in 2012. How have the last six years gone in terms of what you wanted to do with the Shakespeare Company and where you’re at now?

HAYSAM

You know when I took over the company in 2012 I had never run a company before, so I had a clean slate and I was able to start building the culture that I wanted. I really wanted to build and increase the skill set of the performers and the performances. So, I felt it was really important to start developing a strong core of equity actors to comprise half the company. That’s a very expensive initiative but I felt it was really important.

The other important thing was to make Shakespeare much more accessible to a larger audience. All our Shakespeare plays are two hours with a fifteen-minute intermission and since I took over we’ve increased our audience by four-hundred and fifty percent and we’ve extended all our runs to three weeks and we hire on average six equity actors per show and we’ve developed and built a core audience.

We really wanted to key in on those young students in high school that get a bad taste in their mouth for Shakespeare because they think it’s three hours long and it’s boring and it’s in a foreign language and so we’ve done everything we can to make it really accessible. And you know that’s one of the benefits of being in the studio theatre. You see the blood on the Scottish King’s face and it’s visceral and it’s present and it’s intimate and so we benefit from a small space even though we’d love to expand to a bigger space which we will be doing for Rosencrantz and Guildenstern.

And as our high school contingent has grown into young professionals or gone on to university they’ve been coming on their own. They’re not coming in school groups anymore they’re single ticket buyers and they’ve become part of the fabric of our patronage. So, our 18 to 25 demographics are unreal and amazing and has been our biggest success.

Cast members in Alberta Theatre Projects’ presentation of Rosencrantz & Guildenstern Are Dead by Tom Stoppard. A Shakespeare Company and Hit & Myth Production. Photo: Benjamin Laird. (Set: Scott Reid. Lights: David Fraser. Costumes: Hanne Loosen)

JAMES

So, let’s talk about the new season since you mentioned Rosencrantz and Guildenstern are Dead and that’s the first play of your season focused on Hamlet. Where did the idea for Madness in Great Ones originate?

HAYSAM

I’ll confess, I didn’t think I was going to do an all Hamlet season, it wasn’t an epiphany that I had. What happened was I was in talks with Craig Hall the Artistic Director at Vertigo Theatre and we wanted to collaborate again because Mackers was such a big success and we would be totally remise if we did not entertain another partnership. And Craig and I had always wanted to do Hamlet because Hamlet is a ghost story and Vertigo Theatre is a mystery theatre and so we started with Hamlet and Vertigo.

HAYSAM

And then I talked to David Fraser the production manager over at ATP and I said, “Hey, what would it take for us to be in your space?” And David and I just started talking and then he talked to the artistic team and the artistic team came back to me and they said give us a couple of proposals for plays. And I’ve always wanted to do Rosencrantz and Guildenstern are Dead and I thought well we could always have Rosencrantz and Guildenstern are Dead and Hamlet in the same season so I pitched Rosencrantz and Guildenstern are Dead to the artistic team at ATP and they thought it was great programming for Alberta Theatre Projects.

JAMES

A good fit.

HAYSAM

Yeah, and for us.

JAMES

Let’s talk a little bit about that one because it’s coming up right away here and interestingly enough it’s being directed by the same director you worked with on The Virgin Trial and The Last Wife.

HAYSAM

Yes, Glynis Leyshon.

JAMES

So that’s exciting and you’ve got quite the cast lined up.

HAYSAM

It’s pretty stellar.

Myla Southward, Christopher Hunt, and Julie Orton in Alberta Theatre Projects’ presentation of Rosencrantz & Guildenstern Are Dead by Tom Stoppard. A Shakespeare Company and Hit & Myth Production. Photo: Benjamin Laird. (Set: Scott Reid. Lights: David Fraser. Costumes: Hanne Loosen)

JAMES

You’ve got Julie Orton and Myla Southward and I see Mark Bellamy in there as well…

HAYSAM

…Christopher Hunt…

JAMES

…and Tenaj Williams is going to be Hamlet.

HAYSAM

Julie and Myla are a dynamic duo together on stage and they’re a perfect fit for the characters. And Glyniss Lyshom is a big Tom Stoppard fan and a great mentor of mine and a great director and someone that I trust implicitly with everything especially with text and the classical works and I had her in mind before we knew it was going to be an ATP coproduction. I really wanted to bring her on board and it just worked out perfectly. It’s a really exciting cast and I just think this play is ridiculously brilliant and funny.

JAMES

So, now you’ve got these two plays in place – then what happened?

HAYSAM

Well, then I was talking to the High Performance Rodeo because I wanted to partner with the Rodeo and I’ve always wanted to do Drunk Shakespeare. Negotiating Shakespeare sober is a challenge in itself but adding another element to it, I think, is really exciting. So, we’re going to create Hammered Hamlet and if I do Hammered Hamlet I can’t just stop there I have to go full throttle on this and so I thought of creating a season based on Hamlet where you see four different interpretations of a story.

HAYSAM KADRI Artistic Director of the Shakespeare Company

Then I got this idea to do a movement piece and I phoned Denise Clarke who is a genius and a Canadian legend and truly a gem in our city and I just pitched the idea. I said Denise, I love your Radioheaded series they’re fresh and innovative and I want to see if you can transplant that into Shakespeare’s Hamlet. And her eyes and ears and everything just lit up and we went back and forth on it and we decided we wanted to do Hamlet Frequency which is an ensemble piece and a reimagining of Shakespeare’s story choreographed and staged by one of Canada’s greatest choreographers.

So, it’s a bold season and I think it’s exciting and I’m really curious to see how it’s going to unfold and I think a lot of people are really excited about the idea of doing four different interpretations of the same play.

JAMES

What are some of the things the Shakespeare Company has done marketing wise to sell tickets?

HAYSAM

Well, we’re constantly trying to find more ways to be creative with social media and to get people in the door. The other thing – partnerships – partnerships are the way of the future because if you cross-pollinate your audience you maximize your resources because you’re collaborating – there are many benefits to being partners with other organizations.

JAMES

One of the companies that you partner with is Hit and Myth productions how did that partnership evolve?

HAYSAM

Joel Cochrane who is the Artistic Director of Hit and Myth productions is passionate about theatre and particularly Shakespeare and so he’s been an amazing partner and supporter of our company and he’s been a huge part of the success of our organization. Joel has a strong business background and so you know as an Artistic Producer you have to balance the left and the right brain. You’re not just worrying about the art you’re worrying about how you make the art happen and so a guy like Joel who has a strong – business acumen I value because I’ve learned so much from him and many other companies.

JAMES

And he’s a pretty good actor too.

HAYSAM

Yeah, he’s a great actor. He’s really cut his teeth over the last ten years – now he’s a force on stage, and I really like watching him and working with him.

Joel Cochrane as Don Pedro in The Shakespeare Company with Hit & Myth Productions Production of Much Ado About Nothing – Photo by Tim Nguyen

JAMES

So, is Hamlet mad or is he playing mad? What is your own personal take on the madness of Hamlet?

HAYSAM

I think Hamlet is thrown into an extraordinary situation. Just imagine yourself in a situation where you find out that your dad was poisoned by your uncle and now your uncle is married to your mom and you’re a prince and you live in a castle and the tabloids are all around. So, to me, I can’t help but not think that there is a touch of madness that permeates his being because he’s faced with the task of taking action and revenging his father’s death. And to me, Hamlet’s a bookworm. He’s doing his Ph.D. over at Wittenberg University and he’s a head case – literally, he’s in his head. He’s cerebral and then he’s asked to use his body, his heart, and his soul.

JAMES

He’s asked to put down the pen, and pick up the sword.

HAYSAM

Put down the pen and pick up the sword and therein lies the great conflict and the exciting dramatic action where he takes all his time to get the courage to do something that other people would have done the second they heard.

JAMES

One of the brilliant things about Shakespeare is when you look at different forms of storytelling – the novels great strength is that it can go into the mind of its character right – often we say a play is dialogue driven but by using monologues Shakespeare is able to let the audience in on the mind of the character. He uses the device of novels in stage plays.

HAYSAM

I think that’s why when the Richard the thirds and the Iagos of this world turn to the audience and they go, “I’m a complete asshole now watch me do this.” audience members walk away going, “Oh my God, I loved Richard the third!” But how could I love a guy who is hell-bent to kill and murder, but it’s because you’re complicit – because he invites you in – because he shares his plot with you – and so you become a part of that story as you watch it unfold. That’s why you connect with these characters because of this device. And it’s exciting to explore those types of characters. Characters who explore the darker sides of their humanity. Those are fun characters to play.

JAMES

Well, look at Walter White in Breaking Bad.

HAYSAM

Walter White is the perfect parallel.

JAMES

It’s not his good side that we’re fascinated by it’s that evil bit that nasty bit. Or Dexter

HAYSAM

The serial killer who kills serial killers.

JAMES

These are interesting guys.

HAYSAM

And that’s the Richard the third that we were talking about. You watch this underdog character navigate his way through the world in a very unconventional way. Those are interesting people to me.

Haysam Kadri Artistic Director of the Shakespeare Company’s Madness in Great One’s Season of Plays

Rosencrantz and Guildenstern Are Dead By Tom Stoppard – October 9 – 21, 2018

Up first and in partnership with Alberta Theatre Projects is the Tony Award Winning comedy Rosencrantz and Guildenstern are Dead by Tom Stoppard. It’s the story of Hamlet as seen through the eyes of Hamlet’s ill-fated university friends Rosencrantz and Guildenstern. The show is running in the Martha Cohen Theatre and ATP has a pay what you can preview plus that $10.00 ticket thing for students. Regular tickets start at just $30.00 and can be purchased online at the ATP website or by calling the box office at 403.294.7402.

Julie Orton and Myla Southward in Alberta Theatre Projects’ presentation of Rosencrantz & Guildenstern Are Dead by Tom Stoppard. A Shakespeare Company and Hit & Myth Production. Photo: Benjamin Laird. (Set: Scott Reid. Lights: David Fraser. Costumes: Hanne Loosen)

CAST: Julie Orton as Guildenstern, Myla Southward as Rosencrantz, Mark Bellamy as Polonius/Ensemble, Daniel Fong as Alfred/Ensemble, Natascha Girgis as Gertrude/Ensemble, Braden Griffiths as Horatio/Ensemble, Christopher Hunt as The Player, Robert Klein as Claudius/Ensemble, Natasha Strickey as Ophelia/Ensemble, and Tenaj Williams as Hamlet

CREATIVE TEAM: Glynis Leyshon – Director, Scott Reid – Set & Properties Designer, David Fraser – Lighting Designer, Hanne Loosen – Costume Designer, Allison Lynch – Musical Director, Composer & Sound Designer, Haysam Kadri – Fight Director, Jane MacFarlane – Text & Vocal Coach, Ailsa Birne – Stage Manager, Ian Lane – Assistant Stage Manager, Derek Paulich – Production Manager

Hammered Hamlet January 23 – 26, 2019

Then the fun continues at this year’s High Performance Rodeo with Hammered Hamlet – in the tradition of the John Barrymore school of acting actors will try to navigate the tricky plot and intricate text of Shakespeare while consuming enough shots to trip up even the most well-trained tongue. Tickets will go on sale in November.

Hamlet: A Ghost Story Adapted by Anna Cummer – March 20 – April 13, 2019

Then Vertigo Theatre and the Shakespeare Company reimagine one of the Bard’s greatest works by presenting Hamlet as a ghost story, a detective story and a revenge story all rolled into one classic plot. Agatha Christie would be proud. Brought to you by the same creative team that created the chilling and supernatural Macbeth. Hamlet: A Ghost Story is a macabre reimagining of one of the Bard’s greatest works. Tickets are just $35.00 and available online at the Vertigo Theatre website or by calling the box office at 403.221.3708.

The Hamlet Frequency Directed and Choreographed by Denise Clarke – May 16 – 25, 2019

For the final show of the season you’ll meet Hamlet and the rest of the murderous and murdered ghosts of Elsinore as they wander and haunt the halls of the theatres that play them and stagger to their feet on an electromagnetic wave, ready to start all over again only this time they will grieve, plot and rage through the music of their minds in this reimagining of Shakespeare’s story, choreographed and staged by Denise Clarke with One Yellow Rabbit’s education troupe beautifulyoungartists. Tickets are just $35.00 for adults and $25.00 for students and are available through the Shakespeare Company website.

***

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The Shakespeare Company is Calgary’s lean and mean classical theatre company, highlighting the best of the Bard in all his comedy, tragedy, and bawdiness. Since 1995, we have brought the Bard alive for Calgarians through both Shakespeare and Shakespeare inspired plays. We are committed to making Shakespeare accessible through innovative performances and inspired directing. Alongside our mainstage productions, we have two community initiatives: Page to Stage Outreach Program and DiVerseCity.

***

Haysam Kadri Artistic Director has been with The Shakespeare Company since 2012 and has worked to elevate its main stage productions and outreach programs in Calgary. A graduate of the Birmingham Conservatory for classical training at the Stratford Festival, Haysam spent six seasons as a company member with the Stratford Shakespeare Festival of Canada. He has worked extensively as a Theatre Arts instructor with Red Deer College, Mount Royal University, and the University of Calgary. Haysam is an Actor, Director, Fight Choreographer, and Teacher. Since 2012, The Shakespeare Company has enjoyed countless nominations and rewards under his leadership.

***

Hit and Myth Productions is a professional independent theatre company based in Calgary, Alberta. Hit & Myth was established in 2006, and since that time has produced over 30 professional shows, engaging numerous local actors, directors and designers. Hit & Myth collaborates with small to mid-sized sized theatre companies and independent artists to co-produce theatre that is provocative, modern, sensational, and above all else, entertaining. Our productions strive to reflect the dynamic and diverse theatrical community of Calgary and Calgary audiences.

This interview with Haysam Kadri Artistic Director of the Shakespeare Company has been edited for length and clarity. Last revised August 20, 2022.

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