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Posts tagged ‘alex johnson’


All of us In the Greenroom want to send a welcome to our three lovely new writers, Ryan Quinn, Spencer Robson and Jeremy Beal! We are really looking forward to the pieces they have to offer us. Seriously, these guys are awesome writers. Stay tuned for more articles, reviews, videos and more! New bios coming soon.

And then he heard our call…

Only a week after launching the site and posting Alex Johnson’s eloquent letter to the playwright, Tom Walmsley got in touch with us! We were so thrilled to hear from him and we’re even happier to share his response.

Thank you Tom from all of us In the Greenroom.

Read Tom Walmsley’s response in Featured articles.

From one Alex to another – An interview with Alex McCooeye

By Alex “Addy” Johnson

MOST RECENTLY: Directed The Particulars and In General at Summerworks

AS AN ACTOR: The Little Prince (Geordie Productions); Beethoven Lives Upstairs (Centaur Theatre); 39 Steps (Theatre Aquarius); Harvey (Segal Centre); Nativity: A Coyote’s Christmas, Mother Courage, A Christmas Carol, The Ark 2007 (NAC); Rock, Paper, Jackknife (Centaur Theatre/Talisman); Rabbit Rabbit (Summerworks); Of Mice and Men (Montreal Theatre Ensemble). 

TRAINING: National Theatre School of Canada and the John Abbott College Professional Theatre Program.

NEXT: Starring in his own adaptation of Edgar Allen Poe’s The Pit and the Pendulum at the Wildside Festival in Montreal.


Alex McCooeye is a Montreal-bred actor, director, and playwright. If you haven’t heard of him yet, you probably will. He’s putting down roots in Toronto. Constantly challenging assumptions, he is one of the most grounded, imaginative, and insightful young theatre-makers I know.

A few weeks before going into rehearsals for his new adaptation of Edgar Allen Poe’s The Pit and the Pendulum, I (the assistant director of the piece, helping out the stupendous Greg Kramer) had the chance to Skype with Alex about what it means to be an actor-director-playwright, a breed that is becoming more and more necessary.

ADDY: So….how are you settling into the Toronto theatre scene?

ALEX: It’s such a huge community. There’s this core group, I find… And then outside of that there are hundreds of talented, talented people who struggle to get work in Toronto and [end up going] back to other cities all the time to do work. And it can be a really tough year the year after you’ve been in a company [the National Arts Centre]. I’m running into people and they’re saying, “So what are you doing at the NAC this year?” Well actually, you can hire me here.

ADDY: Do you remember that moment of choice we all have when we say, “that’s it, I’m going into the theatre?”

ALEX: I have to admit that I always wanted to be the centre of attention. Like I just loved being in front of people and only through theatre school did I develop a respect for theatre and understood the meaning of what theatre can be. But it was totally born out of wanting to be the center of attention. I can’t fake that that’s not true.

ADDY: Anything in particular that you still carry with you from your theatre school days?

ALEX: I think the main thing I developed…was a love and respect for text and language. And the importance of a respect for the playwright. I think there’s this weird thing going on where theatre is being confused as a director’s medium. And it’s not, in my opinion. The director’s job is to serve the play as it has been written for the performers on stage. And there’s this new thing going on with “my take, my vision of this play” that I really can’t stand.

ADDY: So what would you say is the director’s job, specifically?

ALEX: To ensure that the actors are serving the play while empowering the actors to own their performances. It’s to not get in the way, to let the work happen. To me…eighty percent of directing is casting. So as long as you have actors that you trust, that you think are right in the roles, then eighty percent of your work is done.

ADDY: And how did you venture into playwriting?

ALEX: I’ve always kind of jotted stuff down, jotted down ideas for plays and things. [During theatre school] a friend of mine and I adapted The Tempest and Waiting for Godot into one [single play]. Pazzo was ritualistically playing all the characters in The Tempest forever until he died in a campaign to keep theatre alive. We were going to peform it in this abandoned theatre in Montreal but were kicked out and moved into a real theatre…because of fire regulations.

ADDY: And years later, you’ve adapted Poe’s The Pit and the Pendulum into a two-hander. Why Poe?

ALEX: I have loved Poe and this story since I was seventeen – just as I was getting into theatre and language and Shakespeare. I was looking for another way to do Shakespeare, for another author who is like him but not as celebrated. I still think that Poe is on par with Shakespeare, but didn’t write plays and didn’t write about love.

ADDY: And why The Pit and the Pendulum in particular?

ALEX: He wrote it while he was mourning the loss of his sister. You wouldn’t know reading it that it’s a reaction to mourning, but obviously while he was dealing with internal torture he decided to write a story about external torture. I love how he deals with the monotony and the banal aspects of the human mind faced with dire circumstances. Like when he’s musing over the size of his prison cell. Because it’s so true.

Alex (left) in Of Mice and Men, Montreal Theatre Ensemble

ADDY: Why did you choose not to direct it?

ALEX: I am of the opinion that a playwright, for the most part, should not direct their own work…they need an outside eye to come in and take what they’ve written and realize it. I’ve also written the part for myself so….to write, direct, and act for me right now is unrealistic.

ADDY: Do you find yourself directing as you are writing?

ALEX: I am definitely acting it as I write it. I’m in my living room doing all the voices and practicing the dialogue and all of that. For me it’s the only way to write. It’s the only way to get the rhythms and the relationships. It’s my entry point. Why not use the experience I have as an actor?

ADDY: How much does your work as an actor and director inform your work as a writer?

ALEX: I think a great deal. I would love someone else to approach me with this play and say, “would you act in it?” But because it’s my idea, I have to write it. [Writing is] my least favourite of the three. I much prefer acting and directing. I’m just using it as a tool to say what I want to say and do the theatre I want to do. But it’s torturous, I find, to write. It’s incredible for me to see all these writer-performers out there, because one job requires such a specific set of skills and a specific personality type that completely contrasts the other job. So it’s kind of incredible. Sometimes it’s great and sometimes it’s an exercise in self-loathing.

ADDY: Do you find it tricky to compartmentalize and separate the stresses of the day from your writing? Or conversely, is it important to let your day influence your work?

ALEX: In this instance when I’m working with a story that already exists, I cant bring a lot of what I’m going through to it. And it’s hard. Was it Chekhov that said, “No writer can work if they’re poor”? It’s tough to go out and do other things and make money and come back and write. I think I’m pretty unsuccessful at compartmentalizing. But once I’m an hour into writing, I’m with it. I’m not thinking about other things.

ADDY: Would you say your work has an aesthetic?

ALEX: The biggest compliment I ever got was when someone said, “every time I see you perform, it feels like you’re in a conversation with the theatre.” Whether that’s true or not, I think that’s something to strive towards. What is this, what does it mean, what can it be, can I do this and get away with it? 

The Pit and the Pendulum will premier at the Wildside Festival in Montreal, January 2012. 

Welcome into the Green Room

green·room [green-room, -room] – the green room is that space in a theatre or studio which accommodates performers not yet required on stage. The green room functions as a waiting room, or as a touch-up lounge so that a performer may be immediately available for a call to the stage. 

I haven’t always been the creative type. Becoming an actor was a big shock to my parents, friends and was even a pretty big shock to myself. But the ‘actor lifestyle’ has always seemed attractive to me. No, it’s not the bohemian, starving artist, “How we gonna pay this year’s rent” way of living that roped me in but it was the sense of community and family and belonging that really convinced me to take my life in this particular direction. I’ve always aimed to create a community that is intimate, supportive and artistic amongst my peers but those things are hard to find when you grow up in a suburb lacking in creative outlets. It’s really not until now, at this point in my life that I’ve found a fantastic group of artists of all mediums who are willing to challenge each other in a healthy, loving way. I’ve certainly been blessed in many ways in this past year. I’ve been surrounded by a very creative group of people, I’ve had a fairly steady flow of work and I’ve moved to the heart of one of the world’s most vibrant, vivacious cities in which I’m constantly surprised and inspired.

Yet as an emerging artist, of course there are definite struggles and slow periods. There have been times when I’ve had to balance three or four ‘joe jobs’, while tired and financially unstable, itching to be on a stage. In these past few months I’ve grown impatient, I’m not going to lie. I’ve been waiting for my phone to buzz with an offer on the other end that I just can’t refuse. But that’s not the way the world works, is it?

So why wait? If I can’t be on stage just yet, well then I can wait in the Green Room. You see, Toronto has been my Green Room this past year. When I’m not on stage I can still remain active inside the community and be stimulated by a variety of art forms. I can meet actors, painters, photographers, film makers, dancers and I can utilize their talents to teach me a few things. That is why I, along with Hallie and other members of our team, have collaborated to make this space for all artists. We want to intersect with those who are eager to create but just can’t find their way to the spotlight yet.  Let this space inspire you, challenge you, teach you and greet you. We are embracing Toronto with open minds and warm spirits and we’re letting the city educate us. Toronto is our Green Room. Everything we learn in and about this city, we’re going to share it here with you first.  So don’t be a stranger. Think of us as your company members, just hanging out, waiting with you to be called onto stage.

So welcome. I hope you like it here.

Warmest regards,

Erin Reznick