Tag: Julie Orton

Christopher Duthie, Julie Orton & Ayla Stephen: A Dinner Party

Posted on by James Hutchison
Allison Lynch is Darling, Ayla Stephen is Boo, Kiana Wu is Sweetie, and Geoffrey Simon Brown is Baby in A Dinner Party by Christopher Duthie. Directed by Julie Orton

We write songs about love. We tell stories about love. We long for love. We celebrate love. Love is all around us and yet we don’t always know what it means. If we did we wouldn’t need to keep discussing it and exploring it and talking about it. We are, it seems to me, bound by our heart’s desire. So, what is this thing called love? I think if I was to define love – I would simply call it absurd.

So, I’m really excited that Christopher Duthie, Julie Orton, and Ayla Stephen have joined forces to bring Calgary the premiere of Christopher Duthie’s new play, A Dinner Party, which just so happens to be an absurdist examination of love.

When Boo, Darling, Baby and Sweetie are unable to agree on a common definition of Love, their otherwise normal dinner party spirals into an absurd chaos of marriage proposals, identity crises, culinary emergency and polite cannibalism. Part absurdist meta-theatre, part romantic cringe comedy, A Dinner Party asks how we know our individual Selfs and understand our Love for one another in the fragmented social landscape of the 21st Century.

If that doesn’t sound like a fun night at the theatre I don’t know what does. I sat down with Christopher, Julie, and Ayla while they were in rehearsal to talk with them about the play and how it explores relationships and love.

JAMES HUTCHISON

We’re going to be talking about your play A Dinner Party which is an exploration of love and so I’m curious about what your favourite love song is and why?

CHRISTOPHER DUTHIE

I think my favourite love song is, Naïve Melody – This Must Be the Place by the Talking Heads because it’s so beautiful and also because it’s about what we think love will be and then we discover what it is.

JAMES

Are you checking Google music?

AYLA STEPHEN

Yeah. (Laughs) I can’t think of any. I love – love songs so much and they always hit me right in the heart but then I forget about them and find new ones.

JULIE ORTON

I have two. The first one is Little Person by Jon Brion and it’s from the movie Synecdoche, New York which is a Charlie Kaufman movie.

JAMES

It’s a strange movie.

JULIE

It’s a very strange movie but it’s a beautiful song and it’s very reminiscent of this play. It’s about going through the world in a disconnected way hoping that one day you’ll bump into that other person you’ve been waiting for and that you can just live a simple life together with that other person. And my other one is When you Get to Ashville by Steve Martin and Edie Brickell because it’s just a really pretty lovely yearning song.

Christopher Duthie – Playwright – A Dinner Party

JAMES

So, where did the inspiration for this play come from?

CHRISTOPHER

I was doing my MFA in creative writing from 2015 to 2016 in Guelph when I was living in Toronto and I needed to figure out what to do for my thesis, and I had literally written down this conversation that I’d woken up with in my head that was funny, and then I’d put it away and I had figured once I finish my thesis I will come back to it. And I think I was secretly intimidated by the pressure of writing a thesis play and having to write something serious and important. And as a way of psyching myself out of that kind of thinking I just said, “I’m going to write this ridiculous play and try to make myself laugh and give myself the freedom to make myself laugh and see if anything comes from it.” And that scene became the play and quite quickly the structure and setting of the play became very clear, and I found that as I started writing something emerged that would be funny at first and then it would stop being funny and it became kind of serious, and once it was serious something real would happen and it would become funny again.

JAMES

So, what is the play about?

CHRISTOPHER

A Dinner Party is an absurdist party about two couples whose evening is thrown off course into a kind of chaos of marriage proposals, heartbreak, culinary emergency, polite cannibalism…but essentially it’s about two young couples disagreeing on what love is.

JAMES

The definition of love.

AYLA

It’s a millennial viewpoint on love and relationships that’s absurdist and highly relatable and also very funny. And I say millennial in a good way. It’s not derogatory and it’s not a judgemental term. It’s just that’s where we are and that’s where these characters are living.

JULIE

And one of the great things about the way Christopher has written the play is that it can to be explored in an ungendered way. So, every character could be played by anyone and have any sexual orientation. And it’s funny because when you end up with your cast, just by virtue of the dynamics in the room, all of a sudden, you’re making a different comment on a love dynamic. And so you can tell many different versions of love and many different stories.

And so we have a couple in the play who have been together for a long time and in our version of the play, they’re being played by two female-identifying performers. And so all of a sudden, the dynamics of an older settled love between two women is a really interesting story to dig into compared to the younger love couple in the play being played by a male-identifying performer and a female-identifying performer. Suddenly the dynamic of the settled female couple becomes much more interesting when compared to the younger male and female couple.

And the first time I was introduced to the play was when we did a reading at Christopher’s house. So myself and Mike Tan, Graham Percy, and Brett Dahl, were invited to read the play. And so in that dynamic, I was the only female and there were different dynamics at play for sure. But it didn’t change the arc of the play, it didn’t change the relationships at the core and what their issues are. It was fascinating. Now we have the inverse of that where we have one male and three females, and it works just the same.

JAMES

Who have you cast in the show?

AYLA

I’m playing the character Boo, and Allison Lynch is playing Darling, who is my partner in the show. And we have Geoffrey Simon Brown playing Baby and Kiana Wu playing Sweetie.

JAMES

Did you make any interesting discoveries during the writing process in terms of love that you didn’t expect?

CHRISTOPHER

I think I confirmed ideas that I had always sort of operated with. Like, I don’t necessarily believe that everyone experiences love in the same way. I don’t necessarily believe that there’s one person for everyone. I don’t necessarily think that everyone wants as their ultimate fulfillment of self to be with another person. I think those sorts of ideas made themselves apparent.

JULIE

There are definitely parts of both couples that I can relate to. You have this young couple that are in the early stages of being together. Like six weeks of being together and everything is wonderful. Everything is new and fresh. And there’s definitely parts of that relationship where I go, “Oh, I remember what that was like.” And it was so perfect, right? “Why can’t we live there forever?”

And then there’s this more settled couple that I recognize immediately. And I think, okay, I love the intimacy of how well they know each other. And I love the comfortability between them, but I also see the traps of that. And I also see the disconnections that can happen after spending a lot of time with someone. And so, I think for me, same as Christopher, it just confirmed the things that had been swimming around in my head.

JAMES

Ayla, what about yourself? Have you discovered anything new in terms of your views of love and relationships?

AYLA

I haven’t been in relationships as long as my character has but there is that beautiful comfortability and knowing that even if you’re having a fight there’s still that underlying love, and support and commitment that’s there. And not to say that’s easy or that makes it okay when you are not nice to the person you love, but there is a kind of security built into that.

Julie Orton – Director – A Dinner Party

JAMES

Why do we do that? Why aren’t we nice to the people we love? As actors, you do dramas all the time, where people who are supposed to love each other are not nice to each other. Any insights on good old human nature?

JULIE 

I think in order to be in a long term committed relationship, you have to maintain a certain amount of vulnerability at all times. And I think it is human nature when you are feeling not as strong as you did yesterday or if you’re feeling a little insecure to occasionally swipe out in order to protect yourself. And sadly, it tends to be at the person that you love the most, because they know you the best. And it’s frustrating, and you wish it didn’t happen, but it does.

JAMES

Do you think in love we expect too much from our partner?

JULIE

Oh yes. And I think committing to one person is a really cuckoo experiment because you are an individual fully formed human with a much different experience leading up to the day you met them. And so, your way of interpreting things or looking at things or defining things is different than theirs. And so sometimes you come up against something that is just a conflict of experience and it’s really hard to say we’re two different people, but we’re going to continue on the same path, even though we don’t know where this is going.

JAMES

Is that a cultural thing or is it a human thing?

CHRISTOPHER

Without giving too much away I have right in the play that we have these two holy things in the West, in our culture. We have the dream of the perfect monogamous love, and then we have this dream of total personal freedom. And those ideas are at war constantly. Because I don’t really believe you can have both. Because I think how we define perfect love in our culture involves giving up a piece of yourself and surrendering to the fact that I’m with you on this road that we are creating together. And that is going to involve some of where you want to go, and that’s going to involve some of where I want to go, and we are going to disagree. And if our dream is to stay together, then we need to figure out a way to do that.

Ayla Stephen is Boo in A Dinner Party

JAMES

How much do you think we understand our partners and how does the play explore that?

AYLA

I think the play explores that quite a bit. I think that might be one of the thesis points. How are we communicating and what language are we using? Because if your timelines are different, and the way you’re talking about getting there is different – even if it might look the same – it’s not the same thing. And that can cause feelings of insecurity and vulnerability that can lead to those miscommunications and those anger points. So it’s like, “Oh, it sounds like we’re not working towards the same thing? Is this the right relationship for us to be in?”

JULIE

And I think another thing that the play explores is not just how well do we know our partners, but how well do we know ourselves in our partnerships, because I think we invest a lot in a dual identity and we end up losing a little bit of our individual identities. And so, at the end of the day, when you sit down with yourself and think how well do I know my partner – I think it’s actually who am I in this relationship?

JAMES

Julie, I want to ask how did you go from reading it in Chris’s home to now sitting in the director’s chair. At what point did you go, “I’m going to be the director?”

JULIE

Not one point did that happen. When I read it my gut reaction was I really want to be in this play because there are so few opportunities to do absurdist Theatre in Calgary these days. There’s been a little more this season with Rosencrantz and Guildenstern and Waiting for Godot which is great but not new absurd theatre. I don’t think I have seen a new absurdist play in years. And Christopher’s writing is so funny and quick and smart, and really profoundly beautiful.

So after reading it that first time, I just thought, “Oh, my God, I really hope he’s gathered us all here because he wants us to be in his play.” And then I didn’t hear a lot about it because he was working on his thesis. And then he reached out to me and said, “I want to talk to you about A Dinner Party,” and we met for coffee and he said, “I think you should direct it.” And it scared the poop out of me James, but I think I said yes immediately and then I went home and I was like, “What have I done? I don’t know what I’m doing. I have no idea the first thing about how to direct a play, how to lead a room, how to talk to actors. I just know how to be talked to as an actor.”

AYLA

See, and I disagreed. 

JULIE

Yeah, you did.

AYLA

Julie and I worked on Goodnight Desdemona Good Morning Juliet together. And that was the first time we’ve been actors in a room together since University. And I was like, Julie’s had so many opportunities to work as an actor in Calgary and outside of Calgary. She’s immensely skilled and the way that she’s able to communicate with a director about what she’s doing and what she’s doing with us as actors in the scene I was like, “Julie should move into directing.” 

CHRISTOPHER

You were the first person that said, “Julie could direct this.” 

JULIE

And I’m excited that I said yes because it’s been profoundly exciting in the room. It’s been one of the hardest things I’ve ever done, for sure. But there’s nothing I like more than sitting in a room and watching actors pull apart a script and invest in characters. And this is a character-rich play and so it hasn’t felt like I’m a total fish out of water. It feels like I can actually communicate what’s happening. And it’s been so joyful and I don’t know what happens next with me as a director, but right now, God, I love it!

Playwright/Producer Christopher Duthie; Sound Designer Thomas Geddes; Actors Kiana Wu, Geoffrey Simon Brown and Allison Lynch; Actor/Producer Ayla Stephen; Director Julie Orton; Fight Director Brianna Johnston; Set/Costume/Props Designer Deitra Kalyn – in rehearsal for A Dinner Party by Christopher Duthie

JAMES

So, you were all at the University of Calgary together and I understand that you’ve wanted to work together again for some time and now you’re finally making that happen. What was the process of bringing A Dinner Party to the stage?

AYLA

Chris did a lot of the legwork writing grants and finding opportunities and making partnerships and connecting with people in the community to get extra support. Like Vertigo came on board, once we had some grants, and they’re really doing a lot to support indie artists who are coming up.

CHRISTOPHER

They’re our venue sponsors.

AYLA

We had that support and we had people in our lives who were really excited about seeing us working together again because we’ve established ourselves as artists in the community now. And we raised additional funds through a Kickstarter campaign and it’s all for generating new work which I think hasn’t been happening as robustly as it had been in Calgary about five years ago. And we’re excited to be contributing to that. 

CHRISTOPHER

I will say too that, as much as we are friends we admire each other’s work. And what we’ve talked about is coming to each other with projects we’re interested in leading and trying to find a sustainable way of supporting each other and making theatre in the long term. And also to help each other build the skills that we have and can share with each other to develop our own practices and production abilities.

JAMES

So, just before we wrap up here what’s your favourite line from the play? Without giving too much away.

AYLA

“I could so be a shepherd.” I love that line.

CHRISTOPHER

It feels a bit like tooting my own horn but actually, I really like the line, “No, I knew you were behind me.”

JULIE

Yes, that’s a good one. I like, “Love isn’t just one feeling it’s an amalgamation of every feeling.”

JAMES

And final question, just curious, what is polite cannibalism?

CHRISTOPHER

Oh, you’ll have to find out.

AYLA

Come see the show.

JULIE

Pinkies up.

***

A Dinner Party runs from June 20 to June 29th in the Studio at Vertigo Theatre. Tickets are just $30.00 for adults and $25.00 for students and seniors and can be purchased by calling the Vertigo Box Office at 403.221.3708 or online at VertigoTheatre.com. Please note that the show does contain adult themes and nudity and is intended for a mature audience.

Calgary theatre artists Christopher Duthie, Julie Orton and Ayla Stephen are proud to present the independent premiere production of A Dinner Party by Christopher Duthie, directed by Julie Orton at the Vertigo Studio Theatre from June 20-29, 2019.

Written as Christopher Duthie’s MFA thesis in Creative Writing at the University of Guelph, A Dinner Party is a comedy about true love for the post-truth era. This new take on the absurdist genre is hitting the stage for the first time in an independent production supported by the Canada Council for the Arts, the Alberta Foundation for the Arts, a generous community of Kickstarter crowd funders, the venue sponsorship of Vertigo Theatre and the partnership of Inside Out Theatre’s Good Host Audience Inclusion Program.

A Dinner Party is the pilot project of an indie-producing collaboration between Duthie, Orton and Stephen. With over a decade of experience each onstage as actors and offstage as playwrights, theatre creators and/or producers, they are banding together to play a more active role in making exciting theatre happen in Calgary.

This interview has been edited for length and clarity.

Interview with Playwright Neil Fleming: Spare Parts

Posted on by James Hutchison
Neil Fleming – Playwright, Designer, Television Writer/Producer

“There’s an artistic epiphany in my play John Doe Jack Rabbit. There’s a moment where the TV’s broken and they’re stuck in this cabin and they’re on the lam and this one guy Gordy is reading a book – it’s this trashy horrible romance novel called Ravaged at Rush Hour. But then he gets so sucked into this book – as if he’s never read a book before – and he has this moment where he’s like, the person who wrote this book wrote it down so I would know what it feels like to be Jessica in the cab or whatever it was, right? And that was one of those things. That’s what playwriting is about. What art is about. This is what it’s like to feel like I feel, and I put it into this painting for you to grasp that concept, or I put it in this play for you to go – wow that’s what’s going on in your head.” Neil Fleming

***

Neil Fleming is a multi-talented, award winning Calgary designer, playwright and television producer. In our hour and a half chat last Friday Neil and I talked about all kinds of things including playwriting, depression, Chuck Wendig, poltergeists and ADHD. The purpose of our getting together was to talk about Neil’s playwriting and specifically his current play, Spare Parts, which is being workshopped at the Stage One Festival of New Canadian Work at Lunchbox Theatre this week.

JAMES HUTCHISON

As a writer we spend long hours alone at the writing desk and sometimes we find ourselves facing internal or external resistance to a particular writing project or even our own writing career. Who in your life gives you the support and feedback you need that lets you continue on your journey?

NEIL FLEMING

Well my first sounding board has always been Jane, my wife. When I’m done a draft, I’ll be like, can you take a second to read this? And bless her, she’ll drop everything and go in the other room and I’ll sit there and listen to her while I’m trying to distract myself, but really I’m listening to her reading it and asking her what she’s laughing at if she’s laughing just to make sure she’s not laughing at an inside joke between the two of us that I intended for a larger group.

JAMES

Are you more nervous giving her the first draft to read, do you think, than when it’s ready for an audience?

NEIL

No, I don’t think so. I trust her. We have similar taste in story and content, but she likes things that are a bit darker than I do.

JAMES

And you’re pretty dark at times.

NEIL

I can be. But I think humour has always been a defense mechanism for me. It’s my way of not going to the dark place. More recently I’ve been trying to challenge myself to have something to say and not just be silly.

Karen Johnson-Diamond, Nicole Zylstra, Miles Ringsred, Tim Koetting in the Lunchbox Theatre Production of Last Christmas by Neil Fleming – Photograph by Benjamin Laird

JAMES

But when you did Last Christmas that was dealing with someone dying of cancer. It was a comedy and a Christmas show.

NEIL

Sure. Pam Halstead at Lunchbox had commissioned me to write that. She wanted it to be a dysfunctional family at Christmas made up of people’s Christmas horror stories. So, there’s some Pam Halstead in it. The inflatable husband. One of her siblings bought her an inflatable husband one Christmas, and she opened it in front of everyone, and it was horrible and awful and fun but real, right?

I tried to come up with a family that didn’t resemble my own and didn’t resemble my wife’s where I could use details from real people but no one was able to accuse me of writing about my brother-in-law or whatever. They were fictional characters, but then so many people came up to me after the show because those characters resonated so strongly, and they’d say, “Oh that’s like my sister-in-law, and I can’t believe she’s in your play.”

JAMES

So, it touched on some universal characteristics.

NEIL

For sure. What I like to do is find little bits of truth and craft around those. Last Christmas started because one of my wife’s best friends worked at a dispensary in Vancouver, and her job was to teach old people how to roll a joint because they’d been given medicinal marijuana with a prescription, and they’d never smoked a joint before. And that’s just such an awesome image. So, I wanted the pot smoking grandpa. I just thought what a great start.

JAMES

And then there’s a lovely part of that play where the grandson and the grandfather have a bonding experience. Where they’re sharing the marijuana.

Tim Koetting and Miles Ringsred in the Lunchbox Theatre Production of Last Christmas by Neil Fleming – Photography by Benjamin Laird

NEIL

I think that’s a favourite moment for the audience. It’s Christmas Eve, and the grandfather and the grandson are listening to Nat King Cole, and grandpa is experiencing being high for the first time. But they’re just having one of those philosophical conversations.

I love the absurdity of real things. One of my favourite things to do when I was looking for something fresh or new is I’d go to the news of the weird, and I have a play called Gnomes about garden gnomes and literally there was a news article about the Garden Gnome Liberation Front, I think, in Paris and they had broken into a garden show, and they stole all these antique gnomes, and then in the town square spelled out, Free the Gnomes with the gnomes.

And so, my concept for that play was there were three characters. Character one was a collector, and his parents had this massive collection of gnomes, and there was an incident where somebody came and smashed a bunch of them. And then here’s a woman from The Garden Gnome Liberation Society. I changed that. And then the last guy was from a group called DAMAGE which was defending all mankind against gnome evil, because he believed that gnomes were secretly evil, and that they come to life. And so, it became this argument between the three characters – were gnomes good, or evil, or ceramic?

JAMES

The new play you’re working on with Lunchbox Theatre is called Spare Parts and has three characters. There’s Martin a widower living alone in the haunted apartment his wife Sarah convinced him to buy, and on the anniversary of the accidental death of his wife and daughter Emily, Martin decides to take an overdose of anti-depressants.

Then there’s Eric, Martin’s upstairs neighbour, and a former human guinea pig for pharmaceutical companies, who is now developing and promoting a new Life Style System that focuses on exercise, recreation, and meditation through colouring as a pathway to an enjoyable life.

And finally, there’s Sarah, Martin’s dead wife. As Martin trips through his various symptoms, side-effects, and visions, we meet Sarah as a memory. In life, Sarah had a business taking people on tours of haunted buildings. She knew the story of Lester – who had been found dead in a heritage building – presumably payback for a romantic tryst. When she heard the apartment was coming on the market, she knew she had to convince Martin to buy it and move in. These three characters…

NEIL

Well, four if you count Lester.

JAMES

Four characters are caught up in a story about suicide, depression, guilt, religion, and the supernatural. First question, how much of that is based on personal experience?

NEIL

Well I didn’t know this at the time, but I did struggle with anxiety and depression. It was more anxiety, I think. Depression I didn’t know how to define. I didn’t know anything about mental health really. Depression to me was sadness, as a writer. As a clinical term it’s something else. What I was struggling with was my inability to focus and accomplish things and constantly feeling like I was getting lapped by younger writers or whatever. I was like why can’t I get anything done?

Recently I’ve been diagnosed with ADHD and it was such a relief to finally know what I’ve been struggling with my entire life really. But, before I was diagnosed I was buying a book by Peter Shankman called Crazy Publicity Stunts and Why Your Company Should Do Them because I was thinking of doing a street theatre project that was sort of a social media experiment. And beside that book, in the people who bought this book also bought section, was another book by Peter Shankman called, Faster Than Normal. How to hack your ADHD brain and unleash your super power. And I was like, I want to read that. I ordered both of them. And that book  explained my entire life, my entire history, and I was like Oh, my God. That’s my childhood. This is high school. University. All of those things, and I could see how things went sideways

And when you’re a writer and you sit down to write something it’s work. The first draft is always fun, but fixing it and fine tuning it that’s work, and if nobody’s breathing down your neck waiting for a draft then it’s easy to just let that one sit there and start something new. So, I have a lot of different projects that haven’t seen the light of day because I haven’t been able to focus. I started Spare Parts years ago, and it was part of my mental health journey.

The other thing with ADHD is that when I need to focus I can hyper focus. That’s the H part. As an adult it’s not hyper activity it’s impulse control. And so, yesterday I was writing solid for five to six hours on the play because I have to give them something to read by Monday so we can start to work on it.

JAMES

Who are you working with.

NEIL

Col Cseke is the director. Graham Percy is playing Martin. Matt McKinny is Eric, and Julie Orton is Sarah. And some things have changed already from your introduction. I’ve cut the daughter. They rent the place they don’t buy it. I know I’ve made that note before about Eric being a Guinee pig so he knows what the prescription is and what it does, because I need somebody in there to help detail what’s going on for the audience because your brain is a complex machine. That’s what fascinated me about this idea in the first place, because when I was struggling with those anxiety issues I talked to my doctor about it – this was years ago – and she gave me a trial prescription of Escitalopram which is a serotonin inhibitor in a way. And when I got the pills they came with warnings.

JAMES

The side effects?

NEIL

It was a crazy.

JAMES

Scary list?

NEIL

It’s supposed to help you, but like how could it maybe do that to you.

JAMES

Do the exact opposite.

NEIL

Well if you have suicidal tendencies it could amplify that.

JAMES

That’s frightening.

NEIL

Yeah, and I’m like, do I want to take this, and so you know I decided at the time I don’t think this is for me. But I kept the information and that’s what started it.

JAMES

That’s what started this play six or seven years ago?

NEIL

More than that – I think, 2007 is what my hard drive tells me was a first draft. So, I’ve learned a lot in the last eight or nine years. Mostly in the last year. What’s always interested me as a writer are the odd outlying people. Spare Parts is kind of about that. It’s about people just on the outskirts of regular society. Like the neighbor, Eric’s character. He’s trying to rediscover his purpose by starting this sort of life style system.

JAMES

It’s kind of a religion he’s working on?

NEIL

It’s open to all religions, because in his theory religion is part of the problem because of people bickering over the differences between theirs, and yours, and whatever.

JAMES

So, his philosophy could be placed over any faith?

NEIL

Yeah, his philosophy of life is to find the things that make you feel good because you’re only here for a finite amount of time.

JAMES

What are you hoping to accomplish in next week’s workshop?

NEIL

What I love about playwriting is it’s all about questions. Dramaturgy is all about questions, hopefully. And I don’t mind suggestions, but questions are great because I will write them all down, because a question from anyone – whether it’s from an actor, or a stage manager, or an audience member, represents a certain percentage of that population. There’s a lot more people who will have that same question. I lost you for two or three lines because you were hung up on something, so I always feel like you have to address those with what’s the simplest way for me to make that question go away. If it’s that kind of question.

I was just reading this book, Damn Fine Story, by Chuck Wendig who’s a novelist and a writing blogger. Terrible Minds is his blog. In his book, which is about story telling more than anything else, he uses Die Hard as an example. And at the root of it he says stories are about characters. Stories are rooted in character, and so a character has a problem, and then how they try to solve that problem is the story.

JAMES

And they either solve it, or they don’t.

NEIL

But what he pointed out – Bruce Willis’s character’s problem, John McClain – I only know that because he keeps referring to him in this book, but his problem is that his wife left him for this job in LA, and he’s a New York City cop, so he’s flown out at Christmas time to convince her to come home to get his family back together. And coincidentally all of this stuff goes down with Alan Rickman, and terrorists, and the tower, and him not having his shoes on – those are all coincidental pieces of the puzzle of I’m just trying to get back together here with my wife.

JAMES

And that’s what makes it work – the human element. You mentioned something in a previous interview when you were asked, “What do you think art is?”  You said, “I suppose art is an expression of human emotion.”  Why do you think we have this need to examine our emotional connection and reaction to other people, the world, and ourselves?  

NEIL

I think that there are so many unanswered questions that we have. You know I took first year philosophy when I was at University and it was all Plato’s Republic and you couldn’t make me read that book – it was like painful. If it had been a survey course of all the philosophers I think I would have really gotten into it with different perspectives and stuff.

JAMES

Maybe theatre is philosophy on stage?

NEIL

Yeah, kind of. It’s trying to explain what it means to be a person, because we don’t know what happens after we die. As artists I think we’re always trying to reflect back, and sometimes it’s a fun house mirror reflection, but you know it’s also a compulsion. And I think the ADD is part of it too. I just started doing collage work with my photography. A few years ago we were in Paris for my wife’s 50th birthday and I saw all these numbers every where, and I just started taking pictures of numbers – like address numbers and here and there, and I bought one of those big cheap print things for ten bucks form Homesense or whatever, and I pasted all of these photographs over top of it as a present for my wife, and here’s our entire Paris trip on one canvas, and you could see us in some of them, and some of the pictures were tiny, and I have no idea the compulsion that drove me to do that, but it felt like something I needed to do.

JAMES

It tells a story.

NEIL

Yeah, for sure and it’s something you can spend some time with it’s not just like, “Oh yeah, I’ve seen that.” You can really sort of dive in and look at all those little details

JAMES

Do you think that’s what your plays are like? Like in terms of your process it reflects what you’re doing with your photography, because you’ve got all these different ideas, all these little bits, and now you’re putting them together, and the play itself when the audience comes to it is the experience of all these little pieces.

NEIL

Yes, and the takeaway will be different for everyone, you know, I think. Especially with this. There’s so much crazy content in this play. There’s an artistic epiphany in my play John Doe Jack Rabbit. There’s a moment where the TV’s broken and they’re stuck in this cabin they’re on the lam and this one guy Gordy is reading a book – it’s this trashy horrible romance novel called Ravaged at Rush Hour. But then he gets so sucked into this book – as if he’s never read a book before – and he has this moment where he’s like, the person who wrote this book wrote it down so I would know what it feels like to be Jessica in the cab or whatever it was, right? And that was one of those things. That’s what playwriting is about. What art is about. This is what it’s like to feel like I feel, and I put it into this painting for you to grasp that concept, or I put it in this play for you to go – wow that’s what’s going on in your head.

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Spare Parts is one of eight new plays being developed through The Stage One Festival of New Canadian Work at Lunchbox Theatre from May 25th to June 9th.

2018 Stage One Festival of New Canadian Work Free Reading Schedule

Spare Parts by Neil Fleming – Friday, May 25, 12:00PM
The Happiness Equation by Peter Fenton & Scott White  – Friday, May 25, 6:00 PM
The Art of Kneading by Helen Knight – Saturday, May 26, 12:00 PM
Paul’s Grace by Anna Cummer – Friday, June 1, 12:00 PM
Candemic by Arun Lakra – Friday, June 1, 6:00 PM
Wo De Ming Shi Zhang Xin En by Kris Vanessa Teo – Saturday, June 2, 12:00 PM
Go for Gold, Audrey Pham by Camille Pavlenko – Friday, June 8, 12:00 PM
Reprise by Mike Czuba – Saturday, June 9, 12:00 PM

This interview has been edited for length and condensed for clarity.