Christopher Hunt, David Trimble, Shaun Smyth, Paul Gross and Chirag Naik in Alberta Theatre Projects’ production of The Seafarer. Photo by Benjamin Laird. Set & Props Design by Hanne Loosen. Costume Design by Ralamy Kneeshaw. Lighting Design by Anton deGroot.
Alberta Theatre Projects has set sail on its 50th Anniversary Season and the first leg of this voyage is the darkly comic and booze-driven production of The Seafarer by Conor McPherson starring Paul Gross in a triumphant return to the Calgary stage.
The play is partly inspired and named after The Seafarer a 124-line Old English poem told from the point of view of a sailor who is reminiscing on the hardships of life on a wintery sea. The oldest written version of the poem is from the tenth century and it was first translated into modern English by Benjamin Thorpe in 1842. I did go in search of that translation and I’m happy to say I found it lurking among the other dusty archives of the Internet. There are other translations of course including Ezra Pound’s 1911 adaptation and the 1970 translation by Richard Hamer that Conor McPherson references. These are all fascinating examples of how different and similar translations can make us feel since translations are always a product of their author and time.
The play also deals with some supernatural elements and in an interview on Theatre Talk with Susan Haskins and Michael Riedel from the New York Post first broadcast in 2007 McPherson while talking about the play said, “I think that life can be frightening sometimes, and I suppose I’ve always been fascinated by the supernatural because I always think it opens a door for us into a way of exploring our own darkest fears where we feel at our most loneliest and our most alienated. So, for me, people who are haunted or dealing with something which is coming from the unknown is always very powerfully dramatic. And I’ve always found that audiences tend to really tune in and really become intensely absorbed by stories to do with that. Then when you create characters around that who we care about and who are trying to deal with this stuff it can become quite potent because live theatre is a magical place and it can have an extraordinary effect.”
Paul Gross and Shaun Smyth in Alberta Theatre Projects’ production of The Seafarer. Photo by Benjamin Laird. Set & Props Design by Hanne Loosen. Costume Design by Ralamy Kneeshaw. Lighting Design by Anton deGroot.
The story takes place in Dublin on Christmas Eve and revolves around James “Sharky” Harkin and his older brother Richard Harkin, a recently blinded, hard-drinking alcoholic played by Christopher Hunt. Determined to make a new start of things Sharky played by Shaun Smyth has returned home to care for his older brother and at the beginning of the play is two days sober and struggling to remain so.
Adding to the Christmas chaos is Richard’s drinking buddy Ivan Curry played by David Trimble. Ivan got hammered the night before and ended up spending the night at Richard’s place too drunk to go home and too scared to face the wrath of his wife Karen.
Joining this ill-fated trio is Nicky Giblin played by Chirag Naik who Sharky resents because Nicky has managed to woo and is now living with Sharky’s ex Eileen. Nicky who refuses the hard stuff but is never without a beer in his hand has spent the day on a pub crawl with a well-dressed mysterious stranger played by Paul Gross by the name of Mr. Lockhart.
Lockhart and Nicky find themselves spending Christmas Eve along with the others doing some heavy drinking and playing poker. But of course, there’s more to the story and more at stake than what at first meets the eye. Who exactly is this Mr. Lockhart and what exactly does he want?
Christopher Hunt, David Trimble, Shaun Smyth (seated), Chirag Naik and Paul Gross in Alberta Theatre Projects’ production of The Seafarer. Photo by Benjamin Laird. Set & Props Design by Hanne Loosen. Costume Design by Ralamy Kneeshaw. Lighting Design by Anton deGroot.
To bring the story to life director Peter Pasyk has assembled a talented cast of actors and a first-rate design team composed of set designer Hanne Loosen, lighting designer Anton deGroot, sound designer Kathryn Smith, and costume designer Ralamy Kneeshaw.
The action of the play takes place in Richard’s rundown basement. The decor is definitely pub-inspired and the room looks like it hasn’t had a coat of paint since Vatican II. There’s a dart board along the back wall and a row of beer coasters decorating the beam that travels nearly the length of the room and a rather steep staircase leading to the basement from the upper floor that proves a challenging and comic obstacle to those who might have had one or two drinks too many.
The lighting and sound are natural feeling but when needed add an extra charge to certain key moments on stage such as when Lockhart reveals to Sharky the reality of his life and the pain he endures in a beautifully written and deeply moving monologue. It’s an entrancing moment and harkens back to the title and poem for which the play is named.
Paul Gross and Shaun Smyth in Alberta Theatre Projects’ production of The Seafarer. Photo by Benjamin Laird. Set & Props Design by Hanne Loosen. Costume Design by Ralamy Kneeshaw. Lighting Design by Anton deGroot.
This is a naturalistic play with hints of the supernatural and so the clothing feels well lived in as does the basement and this is the world our ensemble gets to play in. Christopher Hunt is marvellous as the acerbic older brother Richard who is constantly abusing Sharky but when he feels his brother might be in some kind of danger exhibits a sense of concern and brotherly love. Richard’s character drives a lot of the action and speaks a lot of the lines and so you need someone of Hunt’s calibre to carry that weight and drive the action forward.
Shaun Smyth’s Sharky is a deeply haunted man fighting to stay sober and suppress his quick-to-violence temper. Sharky is on edge, and you sense from Smyth’s performance that this is a battle Sharky has fought and lost many times before. There’s a good portion of the second act where Sharky is silent, and his plight can only be conveyed through nonverbal means. The stakes are high and his resolve to stay sober is under siege and you feel the tension and fear in the way Sharky moves about the stage like a trapped animal not yet willing to accept his fate.
David Trimble’s Ivan is adrift and hasn’t been sober a day in the last twenty years, I’m guessing. What makes Trimble’s portrayal so enchanting is a sense that if it wasn’t for the booze this guy would probably be doing okay. He’s not a mean drunk. And I like that. Often in plays the drink brings out the demons but there are those who in real life simply become happier versions of themselves. Unfortunately, the tragedy in Ivan’s case is that he drinks to excess and has become trapped by the bottle.
Christopher Hunt and Shaun Smyth in Alberta Theatre Projects’ production of The Seafarer. Photo by Benjamin Laird. Set & Props Design by Hanne Loosen. Costume Design by Ralamy Kneeshaw. Lighting Design by Anton deGroot.
Chirag Naik as Nicky feels like the one who still hasn’t quite fallen as deep into the darkness and maybe even has a chance of escaping the hell these others find themselves in. Naik portrays Nicky with a sense of faint optimism and hope that seems somewhat absent from the others but when he should be home with Eileen, he is instead spending the night playing poker and gambling away all his money and so he too slides further down the slippery slope of addiction and risks turning his entire life into ruins.
Rounding out the cast and headlining the show is the multi-talented actor, director, and producer Paul Gross who last appeared on the Calgary stage forty-two years ago in Theatre Calgary’s production of George Bernard Shaw’s Mrs. Warren’s Profession and John Murrell’s Farther West. Tall, lean, and commanding with a mane of long white hair Gross is able to embed his portrayal of Mr. Lockhart with a sense of mystery, danger, and sorrow. Is he the villain and someone we should fear and despise or is he the tragic hero whose fate is undeserved? Or is it that simple? Could he possibly be both? This is clearly a tortured soul, and Gross is able to convey Lockhart’s broken-hearted existence in a rich and compelling performance.
And yet despite the play dealing with dark topics and deeply flawed characters, there’s a great deal of laughter and fun. That’s because director Peter Pasyk has crafted a production where the cast feels so natural in their performances that it really does feel like we’ve simply dropped in and are watching the antics of a group of real-life drinking buddies stumbling through life and celebrating the Christmas season.
Paul Gross and Shaun Smyth in Alberta Theatre Projects’ production of The Seafarer. Photo by Benjamin Laird. Set & Props Design by Hanne Loosen. Costume Design by Ralamy Kneeshaw. Lighting Design by Anton deGroot.
Life as a stormy sea is certainly a relatable concept. We often find ourselves facing difficult times at various points in our lives. The loss of a job. A change in a relationship. And of course, we hurt others and are in return hurt by them. Misunderstandings. Words said in anger. Things done that can’t be taken back. Sometimes when trying to smooth these stormy seas some of us turn to drink. And we use that numbing influence to help us cope with the loneliness and pain of living and our inability to admit that we are often the cause of our own misery and broken lives.
Yeah, sure you can meditate and do yoga to deal with life. That’s a healthy choice, I’ll admit. You can do a detox and take a course on maximizing your life and setting goals and achieving your dreams, but I don’t think that would be of much interest on the stage. I’ll leave the toxic positivity to the self-help gurus and charlatans hawking their supplements and head to the theatre where the entire experience of humanity is laid bare not a false philosophy of only seeing the positive.
The theatre doesn’t just look at the good and the hopeful. It looks at the sinister and at our feelings of despair. Because there are two sides to humanity. Two sides to existence. There is joy and there is sadness. And whether or not we’re spending the evening with estranged brothers Austin and Lee in Sam Shepard’s True West or spending the night with the acerbic Martha and George in Edward Albee’s Who’s Afraid of Virginia Woolf? or staying up all night with Richard and Sharky and their drinking buddies in Conor McPherson’s The Seafarer there is something deeply satisfying about the experience. These may not be the lives we’re living but as human beings, we see something of ourselves within these tragic figures and must acknowledge that there but for the grace of God go I.
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Alberta Theatre Projects has come through its own rough seas over the last few years and now Artistic Director Haysam Kadri and Executive Director Peita Luti along with their team are at the helm helping to make sure that there is smooth sailing ahead. This Fiftieth Anniversary Season has begun with a deeply satisfying and memorable production of The Seafarer by Conor McPherson that audiences can rest assured indicates a return to quality drama, laugh-out-loud comedies, and a range of plays to satisfy Alberta Theatre Projects patrons and friends.
Selma Hortense Burke with her portrait bust of Booker T. Washington, 1930s. Smithsonian Archive of American Art. Photography by Pinchos Horn.
Selma Burke was an African American sculptor who played a major role in the Harlem Renaissance movement of the 1920s and 30s which was an intellectual and cultural revival of African American music, dance, art, fashion, literature, theatre, politics, and scholarship.
Burke used her talent to immortalize such historic figures as author and African-American civil rights leader Booker T. Washington, philanthropist, humanitarian and civil rights activist Dr. Mary McLeod Bethune, composer, songwriter, conductor and Jazz musician Duke Ellington, and Civil Rights leader Martin Luther King, Jr. who advanced civil rights for people of colour in the United States through the use of nonviolent resistance and nonviolent civil disobedience.
Among her more famous works is a bas-relief bronze plaque honouring President Franklin D. Roosevelt and the Four Freedoms which he outlined in his State of the Union speech to Congress in 1941 as Freedom of speech; Freedom of worship; Freedom from want; and Freedom from fear. Burke’s portrait of FDR is recognized by many as the inspiration behind the design of Roosevelt’s portrait on the American dime, which was something she never received credit for in her lifetime.
Caroline and Maria have written a rich and thought-provoking play about the life of Selma Burke that also explores the meaning of art, the Civil Rights Movement, racism, and censorship. I asked Maria and Caroline what sort of experience they hope audiences are going to have when they come to see the play.
CAROLINE RUSSELL-KING
Our goal is to entertain. Our play is not a lecture on art or a biography, it’s a flight of fancy. Selma lived nearly a century – these are ninety minutes of fun.
MARIA CROOKS
An entertaining, stimulating and very humorous one. We hope the audience will find the use of actors playing statues and other objects to be innovative and clever. We also hope that they enjoy getting to know this feisty, intelligent, gifted artist who deserves to be recognized and remembered as a one-of-a-kind artist and human being.
JAMES HUTCHISON
What was your process like working on the play together and what do you think are the key elements that make for a successful writing partnership?
CAROLINE
I think complementary strengths are important. I’m obviously not from Jamaica like Claude McKay is in the play and Maria is. Maria brings her knowledge of French as I am sadly unilingual. Maria is also a great editor. When I am creating plays in my head form and from can often look the same on the page.
MARIA
It was indeed a very stimulating, interesting process for both of us. We brainstormed together, wrote scenes individually then compared the writing and chose sections that best conveyed what we wished to express. We argued, we laughed, we fought to convince the other person of the merit of our ideas. For me, the most important elements that made for our successful partnership were the respect and trust that I have for Caroline’s extensive knowledge and experience as a playwright. She has written numerous award-winning plays, she is also a dramaturg, a critic, and a playwriting instructor. In fact, she was my playwriting instructor and has done the dramaturgy on all my plays.
JAMES
There’s a note in the script before the play begins where you say, “Selma Burke lived from 1900 to 1995 which is approximately 49,932,000 minutes – here imagined are 90 of them.” I loved that because it’s a humorous observation that illustrates the challenge of trying to tell a life story in the span of a play. So, how do you do that? How do you go about distilling the essence of a person’s life into an evening of theatre?
Selma Hortense Burke with her relief plaque of President Franklin Delano Roosevelt. From the Archives of American Art Federal Art Project, Photographic Division Collection.
MARIA
We wanted to demonstrate some very salient points about Selma: how gifted an artist she was, her determination to succeed as a sculptor despite having been born Black, poor, and female in the southern US. The obstacles she faced, and the triumphs and accolades that she garnered, the people she knew, including a veritable Who’s Who of the Harlem Renaissance, presidents, and artist she studied with in Europe, the remarkable events that she witnessed, participated in and chronicled of the tempestuous era that was the 20th century. We wanted to do so dramatically but also with humour.
CAROLINE
It’s all about peaks and valleys. I always tell my playwriting students you want to see characters on their best days and their worst days not a Wednesday.
JAMES
One aspect of the play that works really well that you mentioned is that you have actors on stage being the art – the sculptures – that Selma creates. It’s an effective and theatrical way to bring the art alive and to tell Selma’s story. Tell me about how you came up with that idea and what it adds to the play.
CAROLINE
Having her work come to life is very important. In plays there are three types of conflict – person vs person, person vs environment, and person vs self. In Shakespeare’s time characters had soliloquies to express internal conflict. Today people who speak out loud to themselves are either on the phone with earbuds or mentally unwell. So, her relationship with her art is a mechanism to show internal conflict. Secondly, we so often see plays on the stage that could be screenplays or done in other media like TV – I wanted the play to be theatrical. What theatre does really well – is theatre.
MARIA
Caroline had the brilliant idea to have actors portray the artwork and other inanimate objects. This idea is not only dramatic, but as the audience will see, hilarious at times.
Christopher Clare, Norma Lewis, and Heather Pattengale in the Theatre Calgary – ATP Production of Selma Burke. Photo: Trudie Lee.
JAMES
As you got to know Selma from doing your research and writing your play what sort of person was she do you think and what do you think her hopes would be in regards to her legacy and the art she created during her lifetime?
MARIA
She wanted, I believe, to be remembered as an African American artist who created important works and who wanted to uplift her people though her art.
CAROLINE
I think she had a strong vision for her work and the confidence to pull it off – her art speaks for itself. The language of her art is deep and rich – I’m totally in love with her.
JAMES
A couple of the topics touched on in the play are artistic freedom and censorship. Artistic freedom is defined by the UN as “the freedom to imagine, create and distribute diverse cultural expressions free of government censorship, political interference or the pressures of non-state actors.” In Canada the Canadian Charter of Rights and Freedoms protects artistic expression. And yet in many countries artists are not free to express opinions that differ from those in power and these days there’s the new phenomena of the online mob attacking artists and their work if it doesn’t agree with their particular point of view. The idea isn’t to engage in an exchange and to challenge the art. The idea seems to be to stop the artist and their work. What are your own thoughts about artistic freedom and the kinds of censorship we’re seeing in the world today and what does that mean for the world in which we live? Why is art and artistic freedom important?
CAROLINE
The play is topical because firstly the struggle to create art is always an issue in hard economic times. More importantly the play is about not only those who get to create art but who has the right to destroy it. In Victoria BC two plays have been shut down, one before opening and one mid run. This is outrageous. It used to be the right that censored artist work now it is the left.
MARIA
We both find this trend alarming and offensive. It stymes creativity and will have artists second-guessing their ideas and their work. Unfortunately, today everyone with a computer, cell phone or tablet can disseminate their ideas to a wide audience no matter how unpleasant they may be and find receptive audiences who go along just to be provoking. Unfortunately, both of us have noticed that this kind of behaviour is not limited to right-leaning people or groups, the left, it seems, wants in on it too.
Christopher Hunt and Norma Lewis in the Theatre Calgary – ATP Production of Selma Burke. Photo: Trudie Lee.
JAMES
A script is words on a page. It takes actors to bring the story to life. A director to guide it. A set designer and costume designer and sound designer to build the world of the play. Tell me a little bit about the cast and crew that’s been assembled to tell the story of Selma Burke and what they bring to the story.
MARIA
There are four actors Norma Lewis, Christopher Clare, Heather Pattengale and Christopher Hunt. All very talented Calgarians. Between them they play over 55 characters, art pieces, inanimate objects and even a plaster-of-Paris leg. The director is Delicia Turner Sonnenberg who hails from California and the stage manager is Meredith Johnson. Javier Vilalta is the movement and choreography coordinator. There are of course many other brilliant, artistic crew members who are creating magic in the background to allow this play to shine.
CAROLINE
We are so lucky to have Delicia as our director. Besides a phenomenal cast the designers are great especially Hanne Loosen who has sculped our set and Adejoké Taiwo who sculpted our costumes.
Heather Pattengale, Christopher Hunt, and Norma Lewis in the Theatre Calgary – ATP Production of Selma Burke. Photo: Trudie Lee.
JAMES
Every artist needs their champions. Someone who believes in and loves their work. So, I’m curious to know who has supported you in the making of your art?
MARIA
We have been supported by every artist at Theatre Calgary and especially the Artistic Director of Theatre Calgary Stafford Arima who has taken an artistic risk on this new piece of art.
CAROLINE
No artist is an island. In addition to what Maria said, I think it’s important to recognize the support that we get from friends and family. A play is such an abstract concept before all of the thousands of hours it takes to realize it on the stage. In the early stages it’s very fragile. Every play starts with the thought “Maybe I could write about that….” Every human has the impetus to make art whether it’s a painting, a garden, or a rebuilt motorcycle… it’s the leap into follow-through that’s difficult. I am grateful that my friends and family have supported me for decades through all of the downs, more downs and the occasional up!
JAMES
Having a production on the professional stage is certainly one of those ups and definitely something to celebrate. Who should come to see the play? Is it a play for everyone?
CAROLINE
No, art cannot possibly be for everyone, that’s part of what makes it valuable. Art which is created as mass production is not art. Everyone has their own set of unique tastes in art. This play is for adults who are curious and love to be entertained in the theatre, in the dark with other aficionados. It’s for people who like me get a thrill out of live theatre and love visual art as well.
MARIA
This play is for audiences who enjoy innovative, fascinating theatre with a big dollop of humour mixed in with theatricality.
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.”
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 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.”
Haysam Kadri Artistic Director of the Shakespeare Company
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.
Anna Cummer as Lady Macbeth and Haysam Kadri as Macbeth in the Vertigo Theatre Production of Macbeth. Directed by Craig Hall. A Coproduction of Vertigo Theatre, The Shakespeare Company and Hit & Myth Productions. Photograph Benjamin Laird
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.
Glenn Davis as Othello and Haysam Kadri as Iago in the Shakespeare Company production of Othello by William Shakespeare. Directed by Ron Jenkins. Photograph Benjamin Laird.
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.
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Haysam KadriArtistic 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.
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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.
“We’re also a night where everybody in the theatre community comes together to celebrate the work which we’ve done throughout the year. And whether they’re nominated for a Betty or not – whether they win a Betty or not – we are all there to celebrate the outstanding work that has been done throughout the theatre season, because it’s a hard thing to create theatre. It’s a hard thing to create art. They are a celebration that we have a community and that we are a group of four hundred to five hundred people who have come together and decided that this is our life’s work – hence the professional thing – this is our life’s work, this is what I chose to do for a life and the gift of my art is something that has value.” – Braden Griffiths
Kathryn Kerbes as Mrs. Hudson, Braden Griffiths as Sherlock Holmes and Curt McKinstry as Dr. Watson in the Vertigo Theatre Production of Sherlock Holmes and the American Problem by R. Hamilton Wright. Photo by Tim Nguyen
On Monday, June 25th the Calgary Theatre community came together to celebrate the Twenty-first annual Betty Mitchell Awards. I sat down with actor, playwright, and current President of the Betty Mitchell Board Braden Griffiths, who was just finishing his run as Sherlock Holmes in the Vertigo Theatre production of Sherlock Holmes and the American Problem, to talk about the awards and theatre in Calgary.
JAMES HUTCHISON
What is the purpose of the Bettys?
BRADEN GRIFFITHS
The awards were started by Grant Linneberg , Johanne Deleeuw, Mark Bellamy, Donna Belleville and Doug McKeag those five, and Diane Goodman might have been there as well. One of them joined in the second year. They started it as a way to recognize the excellence that they saw happening in this community and as a way to earmark that excellence in a more official way so that the Calgary theatre community could be a bigger player in Canadian Theatre either by exporting that excellence or by becoming a destination for excellence to be imported into Calgary.
Kate Dion-Richard as Helen Schmuck, Gili Roskies as Marm (Margaret) Schmuck, Katie Ryerson as Hilda Ranscombe, and Morgan Yamada as Nellie Ranscombe in the Alberta Theatre Projects in Association with Western Canada Theatre production of GLORY by Tracey Power. Photo by Barbara Zimonick
JAMES
There’s a lot of recognition across the various companies in this year’s nominations.
BRADEN GRIFFITHS
We’ve considered splitting the second-tier and the first-tier theatres into separate categories, but there is something beautiful about having smaller theatre companies like Handsome Alice nominated or Verb Theatre recognized in the best production category this year alongside the artistic output from larger theatre companies like Theatre Calgary and ATP because I think when we boil all this down, all we’re trying to do in theatre is illuminate something about this messy existence we lead as human beings. We’re trying to illuminate something about what it means to be human and that can happen anywhere and you can be affected just as profoundly in the Motel Theatre as you can in any of the big theatres in Calgary. And so, I love how the Bettys safeguard this idea that we are a community of artists, and we all have the same goals regardless of whether we are working at TC or whether we are working at Handsome Alice or Sage or one of the smaller companies in town. We all have this same goal to tell a story and hopefully illuminate something about what it means to be human.
Camille Pavlenko as Una and Curt McKinstry as Ray in Verb Theatre’s production of Blackbird by David Harrower. Photo by Rob Galbraith/Little Guy Media.
JAMES
What do you think the awards mean to the local theatre community?
BRADEN GRIFFITHS
The value of a Betty, at this point I think, is a thumbs up that you’re creating something that did affect somebody in some way. And then beyond that we hope that a Betty Mitchell award matters on a grant proposal let’s say, or we hope that a Betty Mitchell award nomination might help somebody get into an audition room that maybe they weren’t able to get into before, or maybe it helps a playwright to get a commission. It gives that one little extra push to get that commission that maybe they wouldn’t have been considered for before.
And I don’t think the Bettys are the only benchmark we have for excellence in theatre in this community, because there are a lot of people who aren’t on that list who did outstanding work this year, but I think every artist wants to be recognized in some way for what they do as an artist, and this is a nice official way that you can do that and put it down on a ledger and say, I was nominated for a Betty.
Joel Cochrane as Don Pedro in The Shakespeare Company with Hit & Myth Productions Production of Much Ado About Nothing – Photo by Tim Nguyen
JAMES
And it means something now because we’re twenty-one years in. So, there is a history and a legacy to the Bettys that didn’t exist that first year. And the nice thing is, it does offer a certain record to the performance history of Calgary.
BRADEN GRIFFITHS
Without a doubt. I was going through all the past nominations and there were productions in 1998 when I would have been in grade ten, I believe, and I can remember going to at least two productions that were nominated for Bettys on that list. And it was a bit of a time capsule for me, so the Bettys end up being a marking of our history. It’s saying, we were here. And there are people who are nominated whose names I don’t recognize, which is shocking to me, because we are a fairly small community, so I do wonder what happened to them, but that person was an important part of our theatre community at some point. And they made a difference
JAMES
They’re remembered, in a way. Their work is acknowledged. And that’s not insignificant.
BRADEN GRIFFITHS
It’s not. There’s a tradition in masonry of masons – when they build a big building or whatever out of stone – they’ll leave a little card with their name on it and the year that the building was built, and that card may never be found but its a little statement of I was here. And if theatre is about building a bridge between the artist and the audience then these artists who were nominated for their work but might not be here anymore are still an important stone in the bridge that the Calgary theatre community has been building to the audience of Calgary.
The cast of Sage Theatre’s production of Legislating Love: The Everett Klippert Story by Natalie Meisner. Matt McKinney as Everett Klippert, Jenn Forgie as Tonya, Kathy Zaborsky as Maxine, and Mark Bellamy as Handsome. Photo by Jason Mehmel
JAMES
When the awards started in ninety-eight the world population was 5.9 billion. Jean Chrétien was Prime Minister. Bill Clinton was President. The Tony Award for best musical was The Lion King. And on September 4th, 1998 Google was founded. Here are the type of plays that Calgary was producing at the time. A Delicate Balance, Glengarry Glen Ross, Assassins, Fiddler on the Roof, The Complete Works of William Shakespeare (Abridged)…
BRADEN GRIFFITHS
…which I’ve done four times…
JAMES
…and A Christmas Carol.
BRADEN GRIFFITHS
There you go.
JAMES
Let’s jump twenty-one years. The world population is now 7.6 billion. Almost two billion more in twenty-one years.
BRADEN GRIFFITHS
Holy moly.
JAMES
Justin Trudeau is Prime Minister. Donald Trump is President.
BRADEN GRIFFITHS
Oh, man.
JAMES
The Tony Award for best musical – just decided – The Bands Visit. Google’s Brand value is 120.9 billion. They’re behind Apple and Amazon. And so here are the plays we’re seeing this year. We saw The Humans, The Last Wife, Inner Elder, Much Ado About Nothing, Blackbird, The 39 Steps, and A Christmas Carol.
BRADEN (Laughs)
Christmas Carol, our one big constant.
Stephen Hair as Ebenezer Scrooge, Jamie Konchak as Mrs. Cratchit, Tia Rose Woodruff as Tiny Tim, Eleanor Braitenbach as Belinda Cratchit, Graham Percy as the Spirit of Christmas Present, Karl H. Sine as Bob Cratchit and Evan Andersen Sterns as Peter Cratchit in the Theatre Calgary Production of A Christmas Carol by Charles Dickens. Adapted for the Stage by Dennis Garnhum. Photo by Trudie Lee
JAMES
So, how do you think the plays we’re producing at a particular time reflect the times we live in?
BRADEN GRIFFITHS
I’m always mystified by how Christmas Carol just sells out every year, but at its core, Christmas Carol, is a simple message about man’s ability to change and so there is still a desire for that simple hope. So, Christmas Carol or shows of that ilk and ilk sounds like a negative word but it’s not, I love Christmas Carol. I adore it. I wouldn’t have done it for seven years if I didn’t. But there is still a desire, and I think there always will be a desire, for that simple human message of hope. And yet theatre is starting to change. We are starting to be a more interactive society because of platforms like YouTube and Twitter where you can send a Tweet to Brad Pitt and he might respond to that Tweet.
Ron Pederson as Man 2, Tyrell Crews as Richard Hannay, Andy Curtis as Man 1, and Anna Cummer as Annabella/Margaret/Pamela in the Veritgo Theatre Production of The 39 Steps adapted by Patrick Barlow from the novel by John Buchan from the movie by Alfred Hitchcock. Photo by Tim Nguyen
BRADEN GRIFFITHS
And so, there’s a desire for more interactivity in the art or the media that we indulge in. I think to a certain degree, the magic of a play like The 39 Steps is that we’re all in on the joke. That this is just two ladders and a bunch of crates on a stage and yet those things will become a plane chasing someone through a field, or the crates will become the boxcars in a train or whatever it is, and so we’re all in on the joke and so there’s a greater sense of interactivity. Which is why I think 39 Steps, even though it’s an old play now, has great relevance because the audience is involved in creating that joke.
And then you have things like Inner Elder by Michelle Thrush which talks about what it means to be a first nations member of the Canadian Zeitgeist. What it means socially to be a first nations member. And to actually hear that story told by the person who should be telling that story. The first nation’s experience is not my lived experience. Their lived experience informs my lived experience, and it may not shine the most desirable light on my lived experience, but I need to know as a person who’s a six-foot-tall white male, and I live with such great privilege that it’s insane, but that is my lived experience, and sometimes I can’t see it. And so, if theatre is holding a mirror up to nature then by watching Inner Elder I learn something about what it means to be Braden by watching and hearing the story of someone who is living with much, much, much, less privilege than I. And then hopefully, if I’m open to that…if my ears are open to that…and if the theatre companies are providing a platform for those stories to be told then I will become a more complete human, and a I will become a better community member, and by community, I mean the community of the world by understanding the stories of those who are around me and understanding something greater about myself.
Inner Elder created and performed by Michelle Thrush and presented by Lunchbox Theatre and One Yellow Rabbit as part of The High Performance Rodeo. Photo by Benjamin Laird.
JAMES
Well that’s what art does, doesn’t it? It makes us look in the mirror. It reflects who we are as a people, culture and society and it looks at both the good and the bad.
BRADEN GRIFFITHS
Hopefully. I was doing, Alls Well That Ends Well, with Peter Hinton at The Shakespeare Company two years ago, and this isn’t a name drop, I just want to give credit where credit is due. He said, at some point in that rehearsal process, “There’s not a lot of plays out there where two people sit on a bench both enjoying their own sandwiches, and then they go home. There’s a lot of plays out there where two people are sitting on a bench where one person has a sandwich and the other person is starving. There aren’t a lot of plays out there where we see mankind at peace. We’re always meeting these people in these stories at a time of crisis. At a life-defining moment.”
Elinor Holt as Deirdre Blake, Shekhar Paleja as Richard Saad, Lili Beadoin as Brigid Blake, Ric Reid as Erik Blake, and Ayla Stephen as Aimee Blake in the Theatre Calgary Production of The Humans by Stephen Karam. Photo by Trudie Lee
BRADEN GRIFFITHS
And I feel that’s a really apt quote because, speaking personally, I’ve always much preferred playing the very flawed individual, because we spend so much time in our lives hiding those flaws that we have from the rest of society because that’s the social agreement that we make. We all have our own shit and everybody’s life is complicated, but if you and I are not best friends we’re not going to throw our complications at the other person or that’s the hope of the social agreement we make every day.
And so, the flaws are where the real meat of storytelling and theatre happens. Sherlock Holmes, for example, who is a superhero in terms of his mental acuity is also a morphine addict and a cocaine addict. That I think is where theatre becomes accessible – it’s in the flaws. So, if theatre is holding a mirror up then we can see something of those things we are struggling with in these people on stage. Braden Griffiths as Sherlock Holmes is not dealing with the same things that Sherlock Holmes is, but I become a conduit to talk about those flaws, and I think that’s why theatre is valuable, because it provides a safe space for us to look at the worst and then to ruminate on the worst and know that at the end of the night we’re all going to get in our car and we’ll all safely drive home.
JAMES
What are your ambitions for the Bettys?
BRADEN GRIFFITHS
The board is always trying to safeguard the most unbiased process possible. That’s really what the guidelines are there for. So that we can award these 18 to 20 statues and it is representative of the twelve voices on the jury as opposed to one single voice. It’s a big thing to try and create a list of twelve that has a range of ages, that has a range of sexuality, and has a range of artistic niche. We try to have actors, directors, playwrights, educators, technicians and designers. We want that twelve ideally to be representative of the whole community so that it can be the most unbiased it possibly can be. That’s always going to be, for the board, at the top of the list.
Eric Wigston, Tenaj Williams, Madeleine Suddaby, and Selina Wong in Touch Me: Songs for a (Dis)connected Age by Forte Musical Theatre. Presented by Theatre Calgary. Photo by Trudie Lee
BRADEN GRIFFITHS
There’s also a responsibility for the Bettys to be as inclusive as possible as production models change and as the equity guidelines change to include different types of theatre being created. There are different contracting forms now that weren’t available seven or eight years ago where theatre companies can gather an ensemble of seven and create a show and be protected by equity and be considered a professional show. And so, there is a responsibility for the Bettys to foster a growth in the community by being as inclusive as possible so that those smaller companies that are trying to make their name in the theatre community are included within the professional theatre community. The more inclusive we can be, I think, the greater array of theatre production we’re going to see in this town.
A Chitenge Story created and performed by Makambe K. Simamba. A Handsome Alice Theatre Production. Photo by Tim Nguyen, Citrus Photography.
BRADEN GRIFFITHS
We’re also a night where everybody in the theatre community comes together to celebrate the work which we’ve done throughout the year. And to a certain degree that is sacred as well, because as we’ve seen unofficial community meeting places like the Auburn disappear building that sense of community has become more difficult in some ways, and so the Bettys are a night that’s guaranteed to happen every year where two hundred or so of our theatre community will come together. And whether they’re nominated for a Betty or not – whether they win a Betty or not – we are all there to celebrate the outstanding work that has been done throughout the theatre season, because it’s a hard thing to create theatre. It’s a hard thing to create art. They are a celebration that we have a community and that we are a group of four hundred to five hundred people who have come together and decided that this is our life’s work – hence the professional thing – this is our life’s work, this is what I chose to do for a life and the gift of my art is something that has value.
Back Left to Right: Lee-Anne Galloway, Rachel Delduca, Bracken Burns as Elle Woods, Kyla Musselman, Laura Tremblay, Victoria Whistance-Smith Front Left to Right: Amber Bissonnette & Sash Striga in the Stage West Theatre production of Legally Blonde The Musical, Music and Lyrics by Laurence O’Keefe & Nell Benjamin, Book By Heather Hach based on the novel by Amanda Brown and the MGM Motion Picture. Photo by John Watson Photography
JAMES
That’s what the Bettys are doing for the artist but what about the Bettys in terms of their ability to be an ambassador to the city for our arts community.
BRADEN GRIFFITHS
Well, I don’t know that the community at large knows what the Bettys are. And I think the work of the Bettys in the future is, how can we as the awarding body in town support those producing companies in town over the course of the season as opposed to just on that one night? That’s a conversation that needs to happen between us and the producing companies.
Gregory Dahl as Scarpia and Ambur Braid as Tosca in the Calgary Opera production of Tosca by Giacomo Puccini. Photo by Trudie Lee.
JAMES
So, one of the challenges is how do we get new audiences in there. How do we foster that? How do we reach these people?
BRADEN GRIFFITHS
I think people are more liable to go see themselves, and so I think part of the reason we see a lot of white middle-class, upper-middle-class human beings in theatres is partially because it requires a certain amount of disposable income to go to theatre and partially because those are the stories that for a very – very long time were being told. And so, when we talk about Inner Elder I think it’s more likely that someone of first nations decent might go and see Inner Elder because they see something very specifically that is their story being told in a theatre. And once somebody has seen something in a theatre that has affected them profoundly it’s far more likely that they’re going to go to the next show that may not tell a story that specifically speaks to their lived existence, but like I said earlier, me seeing Inner Elder speaks to my existence whether it speaks to it specifically or not. I think we need to do a better job of telling a wider array of stories in the theatre and if we’re producing Shakespeare we need to start casting artists that come from different lived experiences. And I think the fact that we’re seeing Michelle Thrush direct Honor Beat by Tara Beagan as the first show of the season at Theatre Calgary means we’re moving in the right direction, but we need to continue to do the hard work of providing those opportunities so that we can create a theatre community that is representative of the greater community and the Bettys is a part of that, I think.
Glory – Alberta Theatre Projects, in association with Western Canada Theatre
The Humans – Theatre Calgary
inVISIBLE – Handsome Alice Theatre
Touch Me: Songs for a (Dis)connected Age – Forte Musical Theatre Guild, presented by Theatre Calgary
Undercover – Vertigo Theatre & Tarragon Theatre
OUTSTANDING PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
Kathryn Kerbes – Sherlock Holmes & the American Problem – Vertigo Theatre
Helen Knight – The Last Wife – Alberta Theatre Projects
Chantelle Han – Ai Yah! Sweet & Sour Secrets – Lunchbox Theatre
Esther Purves- Smith – Baskerville: A Sherlock Holmes Mystery – Stage West
OUTSTANDING LIGHTING DESIGN (Tie)
T. Erin Gruber – Easter Island – Verb Theatre
Jessie Paynter – Extremophiles – Downstage
Anton de Groot – Nine Dragons – Vertigo Theatre, Royal Manitoba Theatre Centre & Gateway Theatre
Narda McCarroll – To the Light – Alberta Theatre Projects
Bonnie Beecher – The Secret Garden – Theatre Calgary
OUTSTANDING SET DESIGN
The Old Trout Puppet Workshop – Twelfth Night – Theatre Calgary
David Fraser – Sherlock Holmes & the American Problem – Vertigo Theatre
Scott Reid – Nine Dragons – Vertigo Theatre, Royal Manitoba Theatre Centre & Gateway Theatre
David Fraser – Constellations – Alberta Theatre Projects
Caitlind r.c. Brown and Wayne Garrett – Extremophiles – Downstage
OUTSTANDING PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
Trevor Rueger – Much Ado About Nothing – The Shakespeare Company with Hit & Myth Productions
Mark Bellamy – Legislating Love: The Everett Klippert Story – Sage Theatre
Stafford Perry – The Lonely Diner – Vertigo Theatre
Kevin Rothery – Sherlock Holmes & The American Problem – Vertigo Theatre
Nathan Schmidt – Sherlock Holmes & The American Problem – Vertigo Theatre
OUTSTANDING PROJECTION OR VIDEO DESIGN
Jamie Nesbitt – Nine Dragons – Vertigo Theatre, Royal Manitoba Theatre Centre & Gateway Theatre
Remy Siu – Empire of the Son – Alberta Theatre Projects, part of the 32nd Annual High Performance Rodeo, a Vancouver Asian Canadian Theatre Production
T. Erin Gruber – Easter Island – Verb Theatre
Corwin Ferguson – Julius Caesar – The Shakespeare Company, Ground Zero Theatre, and Hit & Myth Productions
Amelia Scott – To the Light – Alberta Theatre Projects
OUTSTANDING COSTUME DESIGN
The Old Trout Puppet Workshop – Twelfth Night – Theatre Calgary
Heather Moore – The Last Wife – Alberta Theatre Projects
Cory Sincennes – The Secret Garden – Theatre Calgary
Cindy Wiebe – Glory – Alberta Theatre Projects, in association with Western Canada Theatre
Mérédith Caron – Sisters: The Belles Soeurs Musical – A Copa de Oro Production Ltd. And Segal Centre for Performing Arts production, presented by Theatre Calgary
OUTSTANDING SOUND DESIGN OR COMPOSITION
Steve Charles – Glory – Alberta Theatre Projects, in association with Western Canada Theatre
Peter Moller – The 39 Steps – Vertigo Theatre
Andrew Blizzard – Nine Dragons – Vertigo Theatre, Royal Manitoba Theatre Centre & Gateway Theatre
Andrew Blizzard – Sherlock Holmes & The American Problem – Vertigo Theatre
Bryce Kulak – To The Light – Alberta Theatre Projects
OUTSTANDING CHOREOGRAPHY OR FIGHT DIRECTION
Tracey Power – Glory – Alberta Theatre Projects, in association with Western Canada Theatre
Phil Nero – Legally Blonde: The Musical – Stage West
John Knight – Julius Caesar – The Shakespeare Company, Ground Zero Theatre, and Hit & Myth Productions
Laryssa Yanchuk – Sherlock Holmes & the American Problem – Vertigo Theatre
Linda Garneau – Sisters: The Belles Soeurs Musical – A Copa de Oro Production Ltd. And Segal Centre for Performing Arts production, presented by Theatre Calgary
OUTSTANDING MUSICAL DIRECTION
David Terriault – Sisters: The Belles Soeurs Musical – A Copa de Oro Production Ltd. And Segal Centre for Performing Arts production, presented by Theatre Calgary
Jacques Lacombe – Tosca – Calgary Opera
Konrad Pluta – Legally Blonde: The Musical – Stage West
Joe Slabe – Touch Me: songs for a (Dis)Connected Age – Forte Musical Theatre Guild, presented by Theatre Calgary
Don Horsburgh – The Secret Garden – Theatre Calgary
OUTSTANDING PERFORMANCE BY AN ACTRESS IN A COMEDY OR MUSICAL
Jamie Konchak – Miss Caledonia – Lunchbox Theatre
Myla Southward – Much Ado About Nothing – The Shakespeare Company with Hit & Myth Productions
Anna Cummer – Twelfth Night – Theatre Calgary
Anna Cummer – The 39 Steps – Vertigo Theatre
Bracken Burns – Legally Blonde: The Musical – Stage West
OUTSTANDING PERFORMANCE BY AN ACTOR IN A COMEDY OR MUSICAL
Tyrell Crews – The 39 Steps – Vertigo Theatre
Tyrell Crews – Much Ado About Nothing – The Shakespeare Company with Hit & Myth Productions
Devon Dubnyk – The Santaland Diaries – Lunchbox Theatre
Christopher Hunt – Twelfth Night – Theatre Calgary
Eric Wigston – The Secret Garden – Theatre Calgary
OUTSTANDING NEW PLAY
Glory – Tracey Power
Nine Dragons – Jovanni Sy
Flight Risk – Meg Braem
Inner Elder – Michelle Thrush
Legislating Love: The Everett Klippert Story – Natalie Meisner
OUTSTANDING PERFORMANCE BY AN ACTRESS IN A DRAMA
Michelle Thrush – Inner Elder – Lunchbox Theatre
Myla Southward – The Last Wife – Alberta Theatre Projects
Camille Pavlenko – Blackbird – Verb Theatre
Makambe K. Simamba – A Chitenge Story – Handsome Alice Theatre
Jamie Konchak – Constellations – Alberta Theatre Projects
OUTSTANDING PERFORMANCE BY AN ACTOR IN A DRAMA
Christopher Hunt – Flight Risk – Lunchbox Theatre
Stephen Hair – Blow Wind High Water – Theatre Calgary
Curt McKinstry – Blackbird – Verb Theatre
Braden Griffiths – Julius Caesar – The Shakespeare Company, Ground Zero Theatre, and Hit & Myth Productions
Michael Tan – Constellations – Alberta Theatre Projects
OUTSTANDING DIRECTION
Jillian Keiley – Twelfth Night – Theatre Calgary
Ron Jenkins – The 39 Steps – Vertigo Theatre
James MacDonald – Glory – Alberta Theatre Projects, in association with Western Canada Theatre
Glynis Leyshon – The Last Wife – Alberta Theatre Projects
Vanessa Porteous – The Humans –Theatre Calgary
OUTSTANDING PRODUCTION OF A MUSICAL
Sisters: The Belles Soeurs Musical – A Copa de Oro Production Ltd. And Segal Centre for Performing Arts production, presented by Theatre Calgary
Legally Blonde: The Musical – Stage West
Touch Me: Songs for a (Dis)connected Age – Forte Musical Theatre Guild, presented by Theatre Calgary
Tosca – Calgary Opera
Murder for Two – Stage West
OUTSTANDING PRODUCTION OF A PLAY
Glory – Alberta Theatre Projects, in association with Western Canada Theatre
Inner Elder – Lunchbox Theatre and One Yellow Rabbit
Birnton Theatricals: Producing theatre that will entertain and show the world from a different view.
Calgary Opera: Our BOLD new 2018-19 season starts with Roméo & Juliette, followed by the Canadian premiere of Everest, and ends with Rigoletto.
Downstage: Canadian theatre that creates meaningful conversation around social issues.
Forte Musical Theatre Guild: A Canadian not-for-profit company dedicated to the professional development and production of new musical theatre works.
Green Fools Theatre: Not-for-profit Theatre specializing in masks, puppets, stilts.
Handsome Alice Theatre Company: Devoted to unleashing the female voice through the development, creation, and production of inclusive, curious, and rebellious theatre works.
Lunchbox Theatre: One of the most successful noon hour theatre companies in the world.
Stage West Theatre Restaurants: We bring you the greatest entertainers from the stage, the screen and the music world along with our 120-item gourmet buffet! Play With Your Dinner!
Theatre Calgary: Our 2018-19 season includes Honour Beat, Mary and Max – A New Musical, A Christmas Carol, BOOM X, The Scarlet Letter and Billy Elliot The Musical
Vertigo Theatre: The only professional theatre in Canada producing a series of plays based on the mystery genre.
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BETTY MITCHELL: After working for ten years in Calgary schools, the University of Alberta graduate moved to Western Canada High School in 1934. Drama was introduced into the curriculum in 1936 and the former biology teacher found herself Director of the Drama Department. Betty had discovered the great love of her life.
She received the Rockefeller Fellowship in 1942, an M.A. from the State University of Iowa in 1944, followed by a National Research Fellowship from the Cleveland Playhouse. That same year, Betty and her students founded their infamous Workshop 14 which would go on to win nine Dominion Drama Awards and become a training ground for future theatre professionals.
Throughout the fifties and sixties, Betty was a force behind MAC 14 (after a merger of Workshop 14 and the Musicians’ and Actors’ Club), which eventually became Theatre Calgary. As producer, director, and teacher, Betty helped to build a vibrant stage community in Calgary and became sought after as an adjudicator and speaker across Canada.
As achievements mounted, so too did awards, including a City of Calgary citation for her contribution to culture and art. She received an Honourary Doctor of Laws Degree from the University of Alberta in 1958 for her achievements in amateur theatre, the only such doctorate awarded in Canada. Anyone for whom theatre is a passion owes a huge debt of gratitude to Calgary’s first lady of theatre.
Braden Griffiths as Sherlock Holmes in the Vertigo Theatre Production of Sherlock Holmes and the American Problem by R. Hamilton Wright. Photo by Tim Nguyen
BRADEN GRIFFITHS: Braden Griffiths has been an actor and playwright in Calgary for 14 years. He has performed in over 60 professional productions predominantly in Calgary but also, on various stages in Western Canada and occasionally, when he’s very fortunate, in Asia and Australia. His play My Family and Other Endangered Species, written with Ellen Close, was published by Playwright’s Canada Press. He has multiple Betty Mitchell Award Nominations for both acting and playwriting, taking home the Betty in 2015 for his performance in The Last Voyage of Donald Crowhurst. This is his 11th year on the Betty Mitchell Awards Board.
THE BETTY MITCHELL AWARDS: The Betty’s were founded by Grant Linneberg, Mark Bellamy, Donna Belleville, Johanne Deleeuw and Dianne Goodman. Named after one of the great arts educators and a pivotal member of the community of artists that founded Theatre Calgary (just over 50 years ago) the Betty Mitchell Awards were started in order to celebrate the excellence of Calgary’s theatre community 21 years ago. Many aspects of the Betty Mitchell Awards have remained constant over the years: the Board (formerly called the Steering Committee) has always been peopled by volunteers from within the community; the Nominating Committee has always been comprised of a group of twelve individuals and that jury changes every year; the guidelines have remained remarkably intact from the first year of the Betty’s (the semantics have evolved but, their spirit remains the same) and (until this year) the Awards have always been disseminated in August. However, as the Calgary Theatre Community continues to change and grow so too have the Betty’s: multiple Awards have been added over the years (most recently Outstanding Projection Design and Outstanding Performance by an Ensemble); the Awards venue has recently moved away from it perennial home at Stage West and they are now presented in the Vertigo Playhouse; since the closing of the Auburn, the after party has officially become a part of the Betty’s Board planning and arrangements for the night. As much as the Bettys (the statues themselves) are a professional theatre Award, the Bettys (the evening of the awards) have become the one night a year where the community comes together to celebrate all that we have been, all that we are and all that we hope to become.
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This interview with Braden Griffiths has been edited and condensed for clarity.
This article has been updated to include the winners in each category. The opening has been rewritten slightly to reflect that the awards happened. The initial article was written before the awards and linked to tickets for the event.
“It’s been my goal to have a play at Lunchbox Theatre since 1978. I was in grade twelve when the Stage One program first started, and I don’t even know how I ended up going to all the Stage One readings but I did, and I made a mental note to myself that someday I would like to have a play at Lunchbox.” – Dale Lee Kwong
One of the things I love about Lunchbox Theatre is that many of the productions you see on their stage feature local playwrights whose work was developed through the Stage One Festival of New Canadian Work. This season alone features several plays that were developed through the festival including Book Club II: The Next Chapter by Meredith Taylor-Parry,Flight Risk by Meg Braem, and the upcoming and very funny Ai Yah! Sweet and Sour Secrets written by Dale Lee Kwong.
Dale not only writes plays but also writes poetry, essays, and creative non-fiction. Her essays have been published in Somebody’s Child: Stories of Adoption, A Family By Any Other Name: Exploring Queer Relationships, and the Malahat Review. Her poetry has appeared in Canadian Literature,Modern Morsels, and The Calgary Project: A City Map in Verse and Visual. Dale often performs at local literary events and sometimes speaks at inclusive churches and organizations like PechaKucha, TALES and The Coming Out Monologues.
I spoke to Dale about her dream of having a play performed at Lunchbox and the journey her play, Ai Yah! Sweet and Sour Secrets, took to go from page to stage.
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 – Photograph by Benjamin Laird
JAMES HUTCHISON
When did you get into writing?
DALE LEE KWONG
I’ve always been a writer. I have poems framed in cardboard and typed on Manila paper from 1971 that I gave to my family at Christmas. I wrote a community column for about ten years when I lived in Crescent Heights that was told from the point of view of my dog, Magoo. And in my family I’m always the one that gets called upon to do the toast to the bride or the speech. But my real writing career started about fourteen years ago at the end of a relationship. I went to a writing workshop in Edmonton called Women Who Write and took some introductory writing classes. Classes which didn’t actually critique your material so much as just read it back to you and say what struck them.
JAMES
So, it’s a workshop to encourage the writing process?
DALE
Yes, it’s very much for emerging writers. And I realized I had things I wanted to say and so, the first year after my break up I started enrolling in creative writing courses at the University of Calgary. I took three poetry classes with Tom Wayman, and he’s an awesome professor. During that time I won the CBC Poetry Face Off in Calgary, and that got recorded and aired nationwide, and that got voted on by listeners, where it placed third.
JAMES
What a fabulous boost for the ego.
DALE
It was. At the same time Alberta Theatre Projects and the Alberta Playwrights’ Network ran a 24-hour playwriting competition. I entered, and my first play, which was really just a scene, was called – Is Normie Kwong Your Uncle? And it won a special merit award which gave me a free dramaturgical session with Ken Cameron at the Alberta Playwrights’ Network.
I wasn’t even sure what APN was, but after I met with Ken I sent a proposal for an as-of-yet unwritten play to Rona Waddington at Lunchbox Theatre and she commissioned the play in the fall of 2005. I wrote notes and outlines, but I didn’t actually write the play until February 2006 in another 24-hour playwriting competition, which is so well suited to me because I worked in television as a news editor. In television we don’t start cutting the news for the six o’clock show until around three in the afternoon. And then from three to six you hit the ground running, and it’s intense, and that’s the kind of scenario I love. So my writing is always last minute and rushed. I’ve tried to change that, but it’s just part of my process.
JAMES
So, was that the play that became the play being produced at Lunchbox this season?
Dale Lee Kwong, Steve Gin, Brenda Finley, Michelle Wong, Francine Wong, Pat Mac, Nicola Zylstra – at the Glenbow Museum for the Alberta Playwrights’ Network Discovery Prize workshop and reading, November 2006
DALE
Yes, this play has been in development since it was first commissioned in the fall of 2005 and written in February 2006. It’s taken twelve years to get to the stage. And some people think it’s autobiographical, but it’s actually not. There are elements of truth in it, and there are true stories in it.
JAMES
So, what you’ve done is taken personal experience as an inspiration and then created the play out of that. What are some of your thoughts about this twelve-year journey?
DALE
Well, when I started I didn’t know what the hell I was doing. I’d never written a play before. But one thing that worked to my benefit as a playwright was my day job as a news editor. A news editor takes the raw material that a reporter shoots with her photog (cameraman) and helps it become a better product. And one of the things that entails is taking interviews that are five to twenty minutes long and pulling out 20-second sound bites. So in a sense – I’ve been working with dialogue for twenty-six years.
I’d also taken a writing workshop at the Banff Centre from Fred Wah about a form of Japanese poetry called Utanikki. In Utanikki you take two pieces of text and chop them up and then you put them back together in some form, and just by taking two completely different subjects – for example, a recipe for making scrambled eggs and a piece about coming out to your family and mashing them together a relationship is created between these two topics that didn’t previously exist. Many of my writings employ this method. Two types of writing blended together. I have poems where there’s haiku blended with free form.
Jamie Matchullis as Jennifer and Kelsey Verzotti as Jade in the Lunchbox Theatre production of Ai Yah! Sweet and Sour Secrets By Dale Lee Kwong – Photograph by Benjamin Laird
In the play I had this story about a lesbian and her girlfriend, and eventually they decide to move to Vancouver to get away from her family. But in between those scenes I had another entire play. It was a reality game show like Survivor where the lesbian girlfriend was being forced to come out to her family through a competition. There was a character like Jeff Probst, and there was this ancient Chinese sage character named Connie-fucius who would spout out fortune cookie lines.
Over the years I worked with a lot of different directors and dramaturges who encouraged me to remove the Survivor scenes from the play, but it was honestly my favourite part. I loved it! And I loved the character of Connie-fucius.
Lunchbox Theatre – The Early Days – Bow Valley Square
Rona Waddington never scheduled it for a production, and after she left Lunchbox I resubmitted it to Pamela Halstead when she was artistic director, and she was really interested in it, but by then she had already submitted her own resignation. So she set up a meeting between me and Glenda Stirling who was the incoming artistic director. Glenda had already programmed her first season, but she was interested in it for the following year, but then Glenda left. So I’d submitted the play to three different artistic directors and it had fallen through the cracks each time.
The other thing you need to know is that it’s been my goal to have a play at Lunchbox Theatre since 1978. I was in grade twelve when the Stage One program first started, and I don’t even know how I ended up going to all the Stage One readings but I did, and I made a mental note to myself that someday I would like to have a play at Lunchbox.
JAMES
But isn’t that fascinating – that there’s that connection from thirty years ago – no forty years ago.
DALE
78, 88, 98, 2008 – oh my God, forty years!
JAMES
Four decades.
DALE
That makes me tear up thinking about that. That’s why this play is so special to me. Lunchbox is my favourite theatre company, and I make no bones about saying that. I’ve been donating to them for years, and I’ve been volunteering there, and I think they’re one of the best treasures in Calgary.
Chantelle Han as Lilly and Ben Wong as Charlie in the Lunchbox Theatre production of Ai Yah! Sweet and Sour Secrets by Dale Lee Kwong – Photograph by Benjamin Laird
JAMES
So what happened next?
DALE
After Glenda left, in comes Mark Bellamy. I knew Mark vaguely from Vertigo Theatre – and you’d think I’d show him my script right away, but I was gun shy having experienced several disappointments. So, I got to know Mark better, and he got to know me better, and I finally said to Mark, “You know, I’ve got this script that was workshopped here, and it kind of fell through the cracks.” He asked me what it was about and after I told him he said, “Send it to me.” So then I had this opportunity to send it to him, and do you think I sent it to him? No, because by that time it had been workshopped so much I didn’t know where I was at, and I thought I should get him a clean version. So, it took me a year to revise it and send it to him and he got back to me within a month, and gave me a workshop.
At the workshop Mark gave me the choice of a couple of directors and I chose Trevor Reuger from APN whom I had prior dealings with. He had helped me with another script I had started. I told Trevor my creative process and how I’m late with everything and not to worry because I was a news editor, and I’m used to tight deadlines, but before we started the workshop, Trevor suggested, that for the sake of time, we leave the Survivor bits out for now and he said, “If you can show me how they advance the storyline then we’ll start putting them back in.” I was sort of reluctant to do that.
JAMES
Sounds like a clever strategy from your dramaturge.
DALE
Yeah, so the first day we missed two Survivor scenes, and they were funny, and I was like – how can I justify getting them in?
JAMES
So, for the whole workshop you were trying to push them back in?
DALE
Well by Thursday I knew Survivor wasn’t coming back. The play had changed. Everything was fluid. I was doing rewrites every day. But there was this fight scene between Jade and her mother which I’d always struggled with because I didn’t have that fight with my mother in real life when I came out.
Ben Wong as Charlie, Jamie Matchullis as Jennifer, Kelsey Verzotti as Jade and Chantelle Han as Lilly in the Lunchbox Theatre production of Ai Yah! Sweet and Sour Secrets – Photograph by Benjamin Laird
DALE
When I first came out it was in ’93, and I wrote the play twelve years later. I came out before Ellen Degeneres came out, and that was big news. She came out on the cover of TIME magazine. I came out to my family – all in one day – at my mom’s house. I told my cousins first, and at dinner I told everybody’s parents. The ones who had the most trouble with it were the cousins in the 50 to 70 year range, but everyone over 70 was fine with it. In my experience of coming out – senior citizens don’t care that much – you know – life’s too short – do what you want. I had one relative who was ecstatic to finally have a lesbian in the family – that was surprising too.
So, anyway, I had written the play forward to the fight scene and written the play backwards from the fight, but I couldn’t actually write the fight scene. There was just a blank page.
And we got to Friday, before the public reading, and we were reading the script, like we did every morning, and the actor basically went from the last line before the blank page to the first line after the blank page and I went, “No wait. There’s a fight scene there.” And they all went, “What?” And I said, “Well that’s what the blank space is.” And Trevor said, “Where are the words?”
And I said, “I was hoping we could workshop this and get something out.” And Trevor said, “Dale, there’s an audience coming in an hour and a half to see your play. You have to have some words there.” And I said, “Well yeah, but I’ve struggled all the way forward and all the way back – I just need some help.”
Finally Chantelle Han who was playing the mother said, “I think I would ask them to leave, but I need to say something first.” Then the actor playing Jennifer or Jade said, “Well maybe such and such could happen.” And that gave me a little bit. And I think we all worked it out together. I was scratching out lines and adding lines and telling them things. I have no idea what that page looked like on their scripts, and when they actually read it at the reading it wasn’t typed. It was just hand written notes. That script literally got written an hour before it was read.
JAMES
But the audience didn’t know that, and I saw that reading, and it was a lot of fun. There were a lot of laughs. People loved the play, and I remember mentioning to you how much clarity had come into the play from when I had read it probably a year and a half to two years before that if not more. So now that the play is being produced are you excited about going into the rehearsal process?
DALE
Even though I’m not as much of a green horn as I was twelve years ago I’m still a newbie. This is my first big production. So, there’s a bit of a learning curve, but I’m really lucky because one of my mentors in the theatre community is Sharon Pollock whom I’ve known since 2006, and over the last few years we’ve become really good friends because we walk our dogs together.
Jamie Matchullis, Kelsey Verzotti, Ben Wong, and Chantelle Han rehearse a scene from Ai Yah! Sweet and Sour Secrets
Sharon is wonderful. Last year she had her own new play Blow Wind High Water at Theatre Calgary and she had a revision happening on another play at Stratford and I was going through stuff on my end and so I could ask her questions like, “Should I go to the rehearsals?” And Sharon was the first to say, “It’s your right to go to the rehearsal. Not all playwrights do. In fact, most directors would probably discourage it, but you’re emerging – you’re a rookie – you should go to them all.” She said, “Just take a book, and be there if they need you, and listen once in a while, and see what things they struggle with, and you’ll learn.”
You know I always say to emerging artists, particularly artists in their 20s, I say, “You have age on your side. You can plead complete ignorance. You can say, I don’t know. I’ve never been to a dress rehearsal? Can I come to your dress rehearsal? I’ve never been to a first read. Can I come to your first read?”
Ben Wong as Charlie, Jamie Matchullis as Jennifer, Kelsey Verzotti as Jade, and Chantelle Han as Lilly in the Lunchbox Theatre production of Ai Yah! Sweet and Sour Secrets – Photograph by Benjamin Laird
DALE
The other thing you can do if you’re an emerging writer or artist is volunteer. I have been ushering at Calgary theatres for more than ten years. Almost every theatre company in the city uses ushers, and if you usher you get to see the play for free, and you meet the people behind the scenes. So there are all these people that I’ve met along the way, and I’ve been supporting them for ten years, and I finally have something they can come to.
JAMES
Dale Lee Kwong at the Lunchbox Theatre 2017/18 Season Announcement with former Lunchbox Artistic Producer Mark Bellamy Photograph by Carol F. Poon
And genuine friends are happy for you.
DALE
Yes, I get that. I feel the love. At the official season announcement last February I just burst into tears. My best friend got a picture of it, and it’s one of my favourite pictures. Like you say it was a forty year journey. I didn’t even do the math. I’m bad at math. I’m not a good Asian.
JAMES
You can say that joke, I can’t.
DALE
You can credit it to me.
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Dale also wanted to take this opportunity to thank the many people who have contributed to the development of her play over the years. Here is a list of the actors, directors, and dramaturges who have offered their time, talent and support in the creation of Ai Yah! Sweet and Sour Secrets.
Lunchbox Theatre – Stage One workshop, May 2006
TV Host/Charlie Wong – Steve Gin
Lillian Wong/Connie-fucius – Jacey Ma
Jade Wong – Elyn Quan
Jennifer Smith – Karen Johnson Diamond
Dramaturg/Director – Ken Cameron
Alberta Playwrights’ Network – Writing in the Works excerpt, Oct 2006
TV Host – Grant Lunnenburg
Lillian Wong/Connie-fucius – Sharon Pollock
Jade Wong – Laura Parken
Jennifer Smith – Francine Wong
Director – Sharon Pollock
Alberta Playwrights’ Network – Discovery Prize workshop and reading, Nov 2006
TV Host/Charlie Wong – Steve Gin
Lillian Wong/Connie-fucius – Michelle Wong
Jade Wong – Francine Wong
Jennifer Smith – Nicole Zylstra
TV Host/Stage Manager – Patrick MacEachern
Dramaturg/Director – Brenda Finley
filling Station Magazine – flywheel reading for Chinese New Year, Feb 2008
Charlie Wong– Ben Tsui
Lillian Wong– Jasmin Poon
Jade Wong – Francine Wong
Jennifer Smith – Elan Pratt
Connie-fucius – Jade Cooper
TV Host – Emiko Muraki
Director – Dale Lee Kwong
Lunchbox Theatre – Stage One workshop, June 2016
Charlie Wong – Mike Tan
Lillian Wong – Chantelle Han
Jade Wong – Ali DeRegt
Jennifer Smith – Julie Orton
Dramaturg/Director – Trevor Rueger
Dale Lee Kwong writes poetry, plays, and creative non-fiction. Third-generation Chinese-Canadian, her work explores Chinese-Canadian history, diversity & inclusion, adoption, and LGBTQ issues. Dale is passionate about the importance of Chinatowns across North America, and the fight to save them from gentrification. Dale plans to keep writing about the past and present, in hopes of shaping the future!
Lunchbox Theatre is one of the most successful noon-hour theatre companies in the world and produces one-act plays that provide patrons with an engaging and entertaining theatre experience. Lunchbox produces seven plays per season, as well as the Stage One Festival of New Canadian Work where many of the plays produced by the company are developed. Lunchbox is one of Calgary’s longest-running professional theatre companies and is located in downtown Calgary at the base of the Calgary Tower.
Tung Bui is a Calgary photographer and videographer that is passionate about visual storytelling. He loves the challenge of trying to shoot outside the lines of the viewfinder. So if you’re looking to capture your memories in a unique way…let his imagination work for your vision.
This interview has been edited for length and condensed for clarity.
