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Posts tagged ‘Generator’s Artist Producer Training Program’

Artist Profile: Susanna Fournier

Interview by Hallie Seline.

Susanna Fournier is one of the most multifaceted artists in Canada right now. She is daring to go big, speak her mind, challenge the status quo, and continue to push to every boundary that comes her way in order to shake the world up with her art. I have been so in awe of her and her work over the past few years, seeing her drive to take on bigger projects, exploring and expanding her process, all while accepting the challenge of wearing ALL OF THE HATS in order to make her art happen. I couldn’t think of a more fierce artist to feature and I was thrilled to be able to speak with her about what motivates and inspires her, what she’s learned by daring to go BIG with THE EMPIRE TRILOGY, and what advice she would give to fellow artists trying to make it happen.


Hallie Seline: Your Empire trilogy is a massive project. Not only are there THREE PLAYS that are being produced in a year, but there’s podcasts, passports, an extensive fundraising project, partner feature drinks and online graphic novels! Tell me a bit about where your inspiration for this trilogy came from and what made you want to go BIG with it?

Susanna Fournier: I don’t know how to tell small stories. I grew up on Star Wars, Mozart’s operas, the Mists of Avalon, and Lord of the Rings. These all seemed like reasonably normal sized stories to me. 

In terms of the content, I think of the Empire as an origin story of Western modernity. I explore conflict on the macro and micro level. I write about systems of power through exploring how these systems appear in our daily lives, in our homes, our bodies, and sense of self. Current culture is stuck on a path towards destruction, I wrote The Empire to try and trace that path back. I’m not sure we can change the path if we don’t look at just how long we’ve been on it. I write in genre because I want to shake people out of their patterns, shake them out of the day-to-day and into a heightened space. When we travel our senses come alive, when we encounter a new place, new language, new culture, we pay attention in a different way. The Empire is set in an imagined world to shake us into looking at this one with more attention. 

Producing The Empire revealed to me that I’m not just interested in theatre, I’m interested in STORIES. I’m a story-teller, and I’m curious about all the ways we can tell stories. In a theatre, in a book, on the radio, in a picture or across a cocktail. The Empire isn’t just three plays, it’s a whole universe. Alison Wong, who is producing it with me, really helped me see that, and has been working closely with me to make these ideas possible. When I say, “What if we did (insert new idea)???” She’d say, “Yeah, let’s do that,” and then ACTUALLY finds a way to do it.

Playwright, Susanna Fournier, on the set of ‘The Scavenger’s Daughter’. Photo Credit: Haley Garnett.

HS: You have worn so many hats already in this project. What are some stand-out lessons you have learned while taking on the roles of: writer, producer, actor, director…

SF: As a producer: my job is to create containers for everybody else (creative team, venue, and audience) to reveal and experience the art. No matter how much you plan for the process and experience to go one way, it will inevitably go many other ways. Problem solving and your community are your biggest assets.

As a playwright, your play doesn’t exist without all the other elements: design, actors, space, audience. You bring a bunch of pages to day one of rehearsal, and then you have to let the process teach you about your play. You haven’t met your play until you all start doing it. You have to let the play speak – which might mean you suddenly feel like you don’t recognize it anymore. Be curious about it. It’s never going to be the version you see in your head. Thank god – what would be the point of doing it if you can just watch it in your head?

As an actor: you know that nightmare about having to go on and perform a show you didn’t rehearse? I just lived it for a 2 week run. You CAN actually learn a whole show 3 days before opening. You don’t need as much time to work as you think you do to make choices and commit to them. Get off book as soon as you possibly can. Imagine how much deeper your work would be if you were off book by day 1. You can do this. I dare you.

Susanna steps in at the 11th hour as the Philosopher in the first play in the EMPIRE trilogy, ‘The Philosopher’s Wife’. Photo Credit: Bernie Fournier.

HS: What has been your biggest challenge you’ve faced in undergoing this project and how have you taken it on?

SF: Raising the money to produce a whole season of theatre as indie artists and being understaffed because we don’t have the money to hire the amount of people it takes to execute a whole season of theatre. Working inside this challenge is ongoing. I’ve had to interrogate my relationship to money, to asking for it, and to keep asking for it. For instance, if you want to check out Empire Trilogy’s “A Name for A Name” campaign here, you can see how close we are to reaching our $15,000 goal and help us get there by donating today 🙂

HS: We love all of the resources Generator is putting out into the world to empower artists to make their art happen. As an artist taking on many roles, can you speak to me about your experience with the Generator Artist Producer Training (APT) program?

SF: I could not produce a project like this without the training I did with APT, and the continued support Generator is giving me as a resident company. Beyond the classes, which covered everything from budgets, to contracts, to timelines, to curation, and marketing, etc. APT and Generator gave me a community of support. Kristina Lemieux is a revolution. I’m not sure I’ve ever met anyone as committed to empowering artists and creating meaningful sector and social change. Generator is quickly becoming a hub for the indie artists of Toronto, and my hope is that more indie companies will begin to work together and organize around Generator. What would happen if “indie” teams formed a stronger network, what resources could we share, what kind of terms could we set when working inside and outside of more traditional institutions? What’s possible?

Actor, Josh Johnston, as Jack in ‘The Scavenger’s Daughter’. Scenic Design by Michelle Tracey. Photo Credit: Bernie Fournier

HS: What is the best piece of advice you’ve ever received?

SF: Making art that runs against the mainstream is lonely. You’re going to work with great people, but it’s still going to be lonely. Make friends with your loneliness.

HS: Where do you look for inspiration?

SF: Women who rail against the shitty deal society “offers” them. Women who say no. Women who dance. Women who laugh at power. Women who fuck. Women who ask questions. Women who scream. Women who fail. Women who make mistakes. Women who rage. Women who transform. Women who love. Women who sing.

HS: What do you do to take care of yourself as an artist?

SF: I don’t know, I’ve had less than 25 days off since The Empire trilogy started pre-production in May 2017, but I have amazing friends and family who help me every single day and bring me food a lot.


Rapid Fire Questions:

Morning or Night Person? A lot of both lately (work)

Go-to drink? Double espresso with touch of hot water and some kind of non-cow milk. I love cocktails and vermouth but I’m not drinking much these days (see above re: work)

If you could be reincarnated as an animal what would it be? A human.

Last book you read? Heartbreaker by local powerhouse Claudia Dey

Favourite play? Jill Connell is a fucking genius and everything she writes breaks my heart and brings me back to life at the same time. Read: The Supine Cobbler, The Tall Building, Hroses.

What are you listening to right now? My gut. And early 2000’s sad angsty tunes.

Favourite place in the city? Sunnyside beach life guard tower (when I need to see the lake and remember the immensity of life).

What in your life could you not live without? Women and faith.

Current Mantra: Several mantras these days: Keep going. You can’t control everything. Let go. Trust.

Finish these sentences:

I am most creative when...I am dancing”

I feel happiest when…I am creating (which is a form of dancing)”

I feel fired up when…I am writing (also a form of dancing)”

In the Toronto theatre scene, I want to see…more radical work, more abandon (so dancing), and more leaders re-structuring institutional power (which is also a form of dancing)”


THE EMPIRE Trilogy by Susanna Fournier

Connect: 
Susanna Fournier
t: @SusannaFournier

Paradigm Productions & The Empire Trilogy
t: @paradigmprodxn
fb: /paradigmtheatre
ig: @paradigmprodxn
w: empiretrilogy.com

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“Freelancing, Finding Balance in Collaboration & Taking Ownership in Creating Opportunities” In Conversation with Annie Clarke and Emma Westray on Co-Producing CANNIBAL by Thom Nyhuus at Next Stage 2019

Interview by Brittany Kay.

Producers are some of the hardest working people in our business. What they lack in sleep, they gain in the never-ending pursuit of fully realizing a production.

Both Annie Clarke and Emma Westray are two producers who are no strangers to our theatre community. They have been part of such incredible shows and projects in the last year and they’re only gaining momentum. Their next play, Cannibal by Thom Nyhuus, is part of this year’s Next Stage Theatre Festival. We chat about what it’s like to be female producers, the balance and strength they find in collaboration and how they are able to prioritize stories about women. (Thank you for your tireless efforts to make sure the work gets seen. You are truly wonder women) 

Brittany Kay: Women have been at the forefront of today’s theatre scene. What has it been like to be female producers amongst the current theatrical climate? Do you find yourselves wanting to work with certain companies?

Annie Clarke: Most of the producing I’ve done for theatre – beyond just one-night-only events – has happened in the past year, so in a way I feel like my only producing experience is in the context of this climate. I think a big thing that it means is that I don’t need to explain my interest in, and prioritization of, women’s stories. But of course if it’s easier than ever to have that focus, it also means that we are standing on the shoulders of so many women who have fought for space for our voices on the stage (and off it), so I have a lot of gratitude for those who have paved the way for where we are right now. I definitely gravitate towards artists and companies who share those priorities, both in the work that I do and the work that I pay to see.

Emma Westray: I think the conversations that are continuing in our community about women in theatre and representation in theatre have forced me to reflect on my responsibilities as a producer, specifically in the role of hiring artists and putting together a team at the early stages. Sometimes working at the independent level, it can feel like you don’t have the power or resources to change the culture at large, but I’ve realized that every project I work on is an opportunity to set an example for my peers. Every time I work with collaborators to create a safe and respectful work environment, and every time I make a thoughtful effort to hire a diverse, representative team of artists, it shows audiences and peers alike that it is possible and it is necessary. I love being a producer because it gives me the chance to give opportunities, not only to women, but also to BIPOC, LGBTQ+ folx, and other marginalized artists, and now more than ever my priority is to work with companies who are like-minded in this regard.

Photo of Justine Christensen, Michael Ayres by Haley Garnett

BK: Do you find the project or does the project find you? How do you know which projects are the right ones and who/what is worth your energy to invest in? 

AC: I feel very lucky because I have not really “applied” for any of the producing work that I’ve done – it’s come to me through relationships I’ve built. From what I hear from my peers, that’s not uncommon, and I think it just comes from a place of knowing that no one is it in for the money, very often we’re in it for the people, so if we know people who are as passionate as we are and will work as hard as we will, that’s who we end up asking to come on board a project. Every project is a passion project in indie theatre, right? That being said, it took me years to build the network and knowledge of the indie community in Toronto that has enabled me to work as a producer. And I was, and am, very privileged to have been able to devote a lot of time to unpaid work, volunteer work and just general network-building when I first moved to Toronto three years ago.

In terms of deciding which projects to take on, I think I’m still learning about that. I’m definitely still learning what my capacity is. I feel like I say no to things and yet I also constantly feel like I’m too busy to function, so surely there’s a balance to figure out there! The projects I’ve worked on have mainly been motivated by the people involved, but I don’t think you’re going to do a good job producing a play if you don’t genuinely love – let alone like – it. Things I’ve thought about in the past when projects have come up have been: do I love this script? Will I get to work with people I’ve been wanting to work with? Will I be able to learn a lot from a mentor (e.g. Assistant Producing)? Will I be able to stretch my limits and do things I haven’t been able to do before?

EW: I have been fortunate enough to have all of my producing work thus far come to me from the incredible network of people I have met since moving to Toronto nearly 5 years ago. There is something interesting in the way that projects find their way to you when you’re the right fit. Whether it’s something you’ve always wanted to work on, or peers that you’re excited to collaborate with, I’ve learned that trusting my gut when a project feels like it “clicks” is the best way for me to know that I should pursue the opportunity. I am fortunate enough to be a graduate of Generator’s Artist Producer Training program, which has linked me to a group of alumni who are always hearing about and sharing producing opportunities. For this, I am very grateful!

There isn’t really a science to how I choose projects. That buzzing excitement you feel when you sit down with an artist for the first time and hear them explain an idea, or you read a first draft of a script, is how I know that I want to be a part of the team. Conversely, I can say that the few times that I have worked on a project because I thought I should, despite not feeling connected to it, are the times where I found myself not doing my best work and just getting it done because it was a job. Knowing that difference has helped guide me in choosing what I take on as a producer, and it has helped me build a resume of work that I am truly proud of. I choose the passion project that could take years to develop instead of the remount of a classic play everyone has seen before.

Photo of Annie Clarke, Thom Nyhuus & Emma Westray

BK: What has it been like working together? 

AC: I have been fan-girl-ing Emma for the past year, and I have been delighted to find that working with her is even more wonderful than admiring her from afar. We joke that we have been co-parenting Cannibal – I was knee-deep in another show, What I call her, in the fall, so Emma was taking the lead, and then I took over when she went to Europe for three weeks (although she did far more work from Europe than one would have thought possible, probably because she is a real-life superhero), and now we are inching towards the finish line together. It’s been kind of like a months-long game of hot potato. Honestly it’s made me think I should never produce alone again. Just having someone to bounce ideas off of, share panic with, and remind you not to work yourself into the ground, is more valuable than I could have dreamed of.

EW: The amount that we had interacted on social media as a myriad of different theatre companies over the years made it kind of laughable that we weren’t acquaintances in real life. Annie has claimed several times that working together was a way for her to learn more about producing from me, but I am constantly in awe of her leadership and vision for this project. I am a big fan of producing partnerships, and Annie and I fell into a rhythm very early that made it easy to share the role. There is something about a female partnership that feels particularly comfortable in that there has been empathy and compassion built into every stage of this process. Not to say that isn’t possible outside of working with women, but it felt as though it was a given that there would be support and encouragement not because there had to be, but because we cared enough to take care of each other while taking care of the rest of our team. It has been a dreamy process and I would do it again in a heartbeat! 

BK: What has it been like working with an all female creative team? Was the assembly of this creative team a conscious choice?

AC: My personal mandate is to work on stories that put women at the forefront. I also am in love with working with women. Can’t get enough of it. One of the great things about being a producer, depending on what stage in the process you come on board, is the ability to put a team together. Deciding whose voices you’re showcasing, how you’re showcasing them, who’s sitting at the table – that is some kind of power, even when you’re talking about a teeny tiny indie show. I know that at this stage in my career it won’t be possible to be in that level of driver’s seat for every project, but I am so proud of the team we assembled for Cannibal. As Courtney Ch’ng Lancaster (our director) puts so eloquently, “I love competent people!”

EW: I don’t think anyone in my life would have a hard time telling you that feminism is a driving force of my personality, and also my work. I prioritize creating opportunities for women, but I also think that we are spoiled in our Toronto theatre community with talented women in all kinds of roles, so it wasn’t difficult hiring women to fill so many of the positions on our team. It had already been decided when I joined the team that the director would be a woman. Beyond that, the priority was, and always is, to build a team that can service the needs of the script and the director’s vision, and in this case our director Courtney was able to communicate her ideas to Cosette [Pin] and Julia [Kim] and they understood and wanted to join in bringing that vision to life. We also had two female stage managers (Lucy McPhee and Julia Vodarek Hunter) who were able to work together, and with Courtney, to create a safe and welcoming rehearsal room for our actors. It’s exciting to hire these women not only to give them the platform to share their skills and talents, but to give them a chance to collaborate with each other.

Left to right: Joella Crichton, Michael Ayres, Justine Christensen, Thom Nyhuus. Photo by Haley Garnett.

BK: What has it been like working with a male playwright on a play that has a predominantly female POV?

AC: Thom Nyhuus, the playwright, is an absolute dream collaborator – he is so open to feedback and perspectives that differ from his own, and yet he has such a clear vision for the play. In addition to the work he did with our dramaturg, Paolo Santalucia, he also spent a lot of time working on the script with Justine Christensen, who plays Bridget, over the spring and summer, before we started rehearsals. The intention was always to have a woman director, and I still can’t believe that Courtney Ch’ng Lancaster said yes, but we are beyond lucky to have her. We wanted her voice not only in the room, but shaping the room, and she has done the most beautiful job throughout the entire process.

EW: I would also add that when talking about #MeToo, and how we move forward in order to give women a platform to speak and share their stories, that there is also a conversation about what role men will play in pursuing equality. In the same way that we talk about men needing to be allies and how they need to work alongside us to make equality a reality. It was refreshing reading Cannibal knowing that it was Thom’s first play and discovering a female-driven plot featuring two complicated, yet very different, female characters. Bridget Walker is in every scene and the story is hers. I think having male playwrights who want to write interesting stories that feature women, women who are recognizable in their intricacies and flaws, is valuable in the pursuit for more female representation. It’s exciting to think about the possibilities that come from artistic collaborations where artists are open to hearing feedback and learning about one another in order to craft the best story.

Photo of Justine Christensen by Haley Garnett.

BK: You are both freelance producers with multiple jobs on the go like so many of us. What are the ways you manage your time and properly prioritize each project so that they equally get the proper attention? 

AC: I would say that I’m still aspiring to properly prioritize each project so that they each get the attention they deserve. Basically for the past year I have felt like I’ve been in triage mode, so it’s been about which deadline is the most pressing, which fire needs putting out today. I do a lot of planning out my time in detail (iCal is my best friend), but then inevitably things come up and some things just end up landing at the bottom of the priority list. One thing I’ve tried to do is to identify when each project gets to be priority number one (I tend to think of this in terms of, what does my number one focus have to be this month? What about next month?) When Thom and I found out we got into Next Stage, I was absolutely thrilled, but then a new contract came my way in August and I knew that I was over-capacity, which is where Emma came in! There is no way we could have done this show without an Associate Producer, and I am unbelievably grateful to her for her patience and her willingness to give us her time because, like so many of us, it is in seriously short supply.

EW: I definitely wouldn’t claim to be an expert in time management! I am fairly new to being able to consistently work as a freelancer, so I’m still learning how best to manage the different projects I’m working on in order to be productive, but also so I can avoid burning out. My best tip would be to take the time for yourself to look at each of your projects at a distance, by which I mean zooming out and creating a plan from start to finish so that you can identify what you’ll need to do, when you’ll need to do it, and when it needs to be your priority. I would say the biggest lesson I’ve learned recently is being honest with myself when I’m in over my head and addressing it before it becomes a major issue. In the arts sector, we’re aware that everyone is making do with the few resources they have, so it can be hard to admit to the people you’re working with that you need more: more time, more funding, more access, more support. The thing is, if you don’t ask for what you need, no one will know that they should be trying to give it to you. It seems simple, but it’s been a huge game changer for me! Any good collaborator will do what they can to make adjustments so that you can be productive instead of feeling overwhelmed.

BK: Any advice for upcoming producers? 

AC: Know what kind of theatre you want to be a part of putting into the world. That doesn’t mean you’ll get it right every time, or that every project will be birthed into the world exhibiting the beautiful intentions with which it was conceived, but you have to know what you care about. Also: talk to other producers and theatre makers. Read programs, and figure out who’s doing work you love. Send your programs to the Toronto Theatre Database so that we can all help make that resource as rich as possible! See theatre. And get training. I work at Generator so this is me disclosing my bias, but they have incredible workshops geared towards producers throughout the year, as well as an annual Artist Producer Training program. When I first moved to Toronto I was pretty sure it was to act and do nothing else, so I am very grateful to programs like Nightwood Theatre’s Young Innovators and Toronto Fringe’s TENT (Theatre Entrepreneurs Networking and Training) program for opening my eyes to what else was out there, and how I could use my other skills to make theatre.

EW: I think the best thing about producing, but also the most frustrating thing when you’re first starting out, is that there is no one way to produce. For the longest time, I felt like if someone would just send me their blueprint for producing, it wouldn’t feel like such a big task every time I started something new. The more experience you get, and the more you interact with different artists and collaborators, the better you’ll be at knowing how to identify and provide what a project needs. This goes for pretty much anything you’re interested in pursuing, reach out to people doing work that you are interested in and ask if you can take them for coffee. Finding mentors can be hard, but it is one of the most beneficial things you can do for yourself and your career.

Photo of Emma Westray and Annie Clarke by Haley Garnett.

BK: Why should we come and see your show? 

AC: Cannibal is a very, very good play. It is sharp, surprising, thrilling, and utterly unexpected. Thom says that, with Scrap Paper Theatre, he wants to make plays that his brothers won’t sleep through. As someone whose own brother gave up on theatre after seeing me in a very ill-advised one act in 2006, I can really get behind that. And yet, for all of its watchability, Cannibal does not sacrifice depth. I’m really interested in what it’s exploring about womanhood, intimacy, motherhood, love, debt, and what happens when we make art out of life.

EW: There is something about Cannibal that sneaks up on you. It happened when I first read the script last year, and it has happened every time I’ve seen it since. It is not what it appears to be, or at least, it is much more than it appears to be. I love complicated, unraveling, imperfect women and this play delivers one in Bridget Walker, and another in her best friend Liza. I love Thom’s writing, and my favourite part of the script is the depiction of female friendship. It doesn’t have a pink, frilly ribbon tied around it – it’s messy and raw, and it is the core of the emotional relationships, despite the presence of romantic relationships in Bridget’s life.

Cannibal

At the 2019 Next Stage Theatre Festival

Photo of Justine Christensen by Tanja Tiziana

Who:
Company: Scrap Paper Theatre
Playwright: Thom Nyhuus
Director: Courtney Ch’ng Lancaster
Producers: Annie Clarke & Emma Westray
Cast: Michael Ayres, Justine Christensen, Joella Crichton, Thom Nyhuus
Dramaturg: Paolo Santalucia
Sound & Lighting Designer: Cosette Pin
Set & Prop & Costume Designer: Julia Kim
Stage Managers: Lucy McPhee (Rehearsal), Julia Vodarek Hunter
Intimacy & Fight Choreographer: Scott Emerson Moyle

What:
When you survive the unsurvivable, who do you become? Bridget Walker has written a play about the abduction of her son and it’s a smash hit. Critics are raving, but those closest to her are sent reeling. ‘Cannibal’ explores grief, the cost of sharing your story, and what it means to be indebted to someone you love.

Where:
Factory Theatre Studio – 125 Bathurst Street, Toronto, ON, M5V 2R2

When:
Thurs. Jan. 10 (9:30pm), Fri. Jan. 11 (5:00pm), Sat. Jan. 12 (6:45pm), Sun. Jan. 13 (8:45pm), Tues. Jan. 15 (8:30pm), Thurs. Jan. 17 (9:15pm), Sat. Jan. 19 (6:00pm), Sun. Jan. 20 (3:00pm).

Runtime:
90 minutes

Content Warnings:
This show contains strong language, sexual content, and discussions of mental illness, grief, and coping with losing a child.

Tickets:
General Admission – $15.00
Buy tickets or passes in advance online: www.fringetoronto.com or by phone: 416-966-1062

In Conversation with Scott Emerson Moyle, director of Dauntless City Theatre’s TWO GENTLEWOMEN OF VERONA

Interview by Brittany Kay.

We sat down with Scott Emerson Moyle, director of Dauntless City Theatre’s Two Gentlewomen of Verona, to discuss the necessity for inclusive casting in Shakespeare, adaptation, and making the Bard more accessible for audiences and actors alike. 

Brittany Kay: What first drew you to the original text of Two Gentlemen of Verona?  Why is this comedy rarely staged? 

Scott Emerson Moyle: This is the third play I’ve staged in Berczy Park, but the first since a recent renovation that installed the notorious dog fountain. A site-specific staging has to respond to its location, and there was no avoiding the aesthetic of that gigantic fountain… and Shakespeare only put one live dog onstage, so there we were. I’d guess that the text is rarely staged because it has some serious problems with internal consistency (it often reads like a sloppy early draft), but I’d personally written it off because it normalizes misogyny and rape culture with its awful handling of Silvia’s story arc.

Photo Credit: Dahlia Katz

BK: Those normalizations obviously led to a much-needed adaptation, one that is an intersectional feminist reimagining. Talk to me about your process of adaptation and why you saw the play in this way?

SEM: Wanting to do the fun stuff in the play without the baggage was always going to require an adaptation of the text, which is often necessary when trying to argue for Shakespeare’s modern relevance. Since the original text largely treats the female characters as property without agency, I figured a good starting point was casting the two title characters as women. From there, the adaptation kind of took care of itself; the characters and relationships are mostly exactly as Shakespeare wrote them. The biggest change comes at the end, where Shakespeare’s original is unpleasant and unsatisfying for no apparent reason, and where the wrap-up feels forced and inauthentic. I’ve borrowed bits and pieces of text from a few sources to fill out the end of Proteus and Valentine’s story, and that involved a lot of digging around through plays and sonnets for the right fragments to borrow.

Another interesting aspect to the adaptation is in the character of Julian: the source’s character is a girl named Julia who disguises herself as a boy to follow her love Proteus to Milan. I cast a transgender non-binary actor in the role without a clear idea of how that gender-as-disguise narrative would play out, and that actor brought a handling of the character’s arc that feels much more deeply nuanced than the original play’s fairly simplistic proto-Viola story.

The “why” comes from a need to normalize female protagonists and complex relationships between female characters, which Shakespeare’s work rarely has space for. Countless men have had the chance to play Valentine and Proteus, and I wanted to do something new.

Photo Credit: Dahlia Katz

BK: That’s really incredible. In your audition call, you asked for people who felt unwelcomed or alienated by Shakespeare. Why this choice? What did this do for you in terms of casting and how has this brought success or challenges to the process? 

SEM: Everyone has the tools to speak Shakespeare – but I think we get hung up on a particular supposed “correct” approach. It can be challenging text to tackle, but there are lots of tools that can help actors navigate the technical stuff. Lots of very talented actors have so much potential in this work, but they’ve been told, implicitly or explicitly, that they don’t belong in Shakespeare, or that Shakespeare doesn’t exist to tell their stories. If we’re going to keep asserting that Shakespeare is universal, we need to stop only letting one kind of voice be heard. We have to back Shakespeare’s purported universality up with a diversity of voices.

It’s really simple: a cast with a wide range of life experience makes for richer art. The more actors have space to reflect and represent their audience, the better.

BK: I feel like this has a lot do with who you are as a company. Who is Dauntless City Theatre? What makes you different from other Shakespeare companies in Toronto? 

SEM: Dauntless City Theatre has been in operation since 2009, formerly under the name Urban Bard (with a rebrand as Dauntless in 2014). There are certainly other site-specific/immersive companies in town (Outside the March and Convergence Theatre, for example), and other companies doing classical theatre with a focus on inclusive casting (like Shakespeare in the Ruff or Theatre Why Not’s recent Prince Hamlet), and amazing groups like Buddies in Bad Times and Maelstrom Collective making theatre that centres marginalized voices, but I think we’re the only folks trying to work at the intersection of all those ideas. I want to take these great old plays and make them approachable and fun to engage with while creating room for a diversity of voices in the work.

Photo Credit: Dahlia Katz

BK: You have just been accepted into Generator’s Artist Producer Training program for the coming year. Congrats! What does this mean for the future of your company? 

SEM: I’m excited to work with a class of brilliant and talented humans, and I look forward to learning how to produce riskier and more progressive theatre in sustainable ways. This, of course, means that I will bring those skills and connections I’ll develop with Generator back to Dauntless.

BK: How has it been working in Berczy Park? What makes Shakespeare performed in parks desirable as a theatre maker and also for audiences coming to watch? 

SEM: Berczy Park can be a tricky space! We’re very close to traffic, and it’s always a challenge to get the audiences to move around and get close to the action. It’s also a highly visible space, and that means the audience always grows over the course of a performance. Working in a park is a great way to find an audience of people who, for a range of reasons, might not go to a traditional theatre space.

BK: There are elements of live music in your show (I saw some very cool Facebook videos!) Can you talk about how it is used in the performance?

SEM: The music in The Two Gentlewomen of Verona is performed on boomwhackers, which are a series of hollow plastic tubes that each produce a particular pitch when struck. Each of the ten actors has two or three of them, and they get played together to create some fairly complex music. The boomwhackers also become other items in the world of the show, the outlaws’ weapons, the Duke’s staff of office, and so on, which let our composer David Kingsmill compose a rich soundtrack that integrates tightly with the play.

Photo Credit: Dahlia Katz

BK: There’s also a real dog on stage! How has working with this cast member added to the show? 

SEM: Starbuck, who plays Crab the Dog, is actually a fantastic scene partner – attentive, present, and willing to roll with anything. Her human, Leslie McBay, plays Crab’s owner Launce, and their existing relationship translates well in performance. She’s also very patient about wearing a tiny cowboy hat, which is pretty important.

BK: What do you want audiences walking away with? 

SEM: The play talks a lot about loyalty, about honesty, and about how tough forgiveness can be; I’d love for the audience to still be thinking about how they’d handle those situations themselves. I also really value how many audiences seem to be taking at face value that Shakespeare wrote a play called The Two Gentlewomen of Verona – I hope this leaves them questioning the amount of space that male characters take up in classical theatre.

Two Gentlewomen of Verona

Who:
CAST – Uche Ama – Antonia/Thuria
Eric Benson – Lucetto / Eglamour
Tallan Byram – Outlaw Captain
Naya Guzman – Valentine
Isabel Hornstein – Speed
Jordy Kieto – Silvio
Jesselle Laurén – Proteus
Leslie McBay – Launce
Christopher Mott – Duke of Milan
Jordi O’Dael – Julian
featuring Starbuck The Dog as Crab The Dog

Scott Emerson Moyle – Director
Lucy McPhee – Stage Manager
Stevie Baker – Producer
Annelise Hawrylak – Assistant Director
David Kingsmill – Music Director
Christopher Mott – Fight Director
Stevie Baker – Costumes
Dahlia Katz – Poster Design

Where:
Berczy Park

When:
August 18, 19, 25, 26 at 7:30 PM
August 19, 20, 26, 27 at 1:00.

Tickets:
All performances are Pay-What-You-Can!

This is an immersive performance, so wear comfortable shoes! The entire show is accessible to wheelchair users.

Connect:
dauntlesscitytheatre.com