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Jan 14

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In Conversation with Kaitlyn Riordan – Acting in Mockingbird at the Next Stage Theatre Festival

Interview by Hallie Seline

HS: Tell me a bit about Mockingbird at the Next Stage Theatre Festival.

KR: “January is the new July” is the motto of the Next Stage Festival this year and that could not be more true; both for good and environmentally dubious reasons… But to focus on the positive, Mockingbird is a World Premiere of Rob Kempson’s second ‘high school’ play where we’re dropped into the secret and mysterious world of an English teacher’s office at a high school. We meet a varied cast of teachers, all with their particular roles to play in the claustrophobic room they retreat to for some respite from the teenagers they’re teaching. We soon discover that everyone’s favourite colleague, Jon Foster, is having a relationship with a student, and the delicate balance of harmony is quickly disrupted.

HS: Can you speak to me a bit about your character in the show?

KR: Alexandra Lee is a young woman with a very clear sense of right and wrong. She is ambitious and dedicated to her chosen profession in a way which she does not extend to her personal life. Jon Foster, her delightful gay best friend of 10 years, provides her with all the companionship she needs and working at the same school has been a dream come true. An aspiring novelist, Alex is searching for something, which when the show begins, is out of her grasp.

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HS: It’s so wonderful to see such a large cast on our Canadian stage. What has been your favourite aspect about working with such a large, diverse cast, which features a rich range of talent in experience, background and age?

KR: Having so many rich personalities in the same room creates a dynamism which is electric. Previous to the first day, I knew a few of the cast members to say hello, but I didn’t really know anyone very well. Starting rehearsals almost felt like that first day in September when you go back to school and meet your new class mates, but the beauty of the theatre is that we then got to play together. I laughed harder in these rehearsals than in any I recently recall and not always at the appropriate time.

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HS: Why do you think this story needs to be shared with audiences now?

KR: We live in a very progressive community here in Toronto and in the past few decades I think that the value of ‘rules’ has eroded. Very few professions carry an unbreakable code of conduct; doctors, lawyers, and many would argue teachers. How do those two concepts coexist? How do we marry our progressive society with an unbreakable code? How do we navigate those grey areas of life? That seems to be the crux of where so much of life exists, so we need to ask ourselves those questions.

HS: It’s just the beginning of a brand new year, which always feels like it opens up the potential for new possibilities. What do you hope to see this year in the Toronto/Canadian theatre community?

KR: Before moving to Toronto, I lived in London and New York. What struck me when I moved here was the lack of Canadian stories on our stages, in contrast to the prominence of British or American stories I witnessed in those cities. In Toronto I think that varies year to year, but that is always my hope as I go into a theatre; show me something about the world I live in, and the country if possible. Sorry to be a bother. Thanks 😉

Short Answer Questions:

What are you listen to lately? Alabama Shakes. I’m obsessed.

Where do you look for inspiration? In the theatre, in books, in friends, and in nature. I live near High Park and it never ceases to amaze me.

What is your favourite place in the city? Withrow Park, the AGO, or the Islands. That’s a tough one.

What’s the best advice you’ve ever gotten? “Follow your passion, because you’re lucky to have one.”

Describe Mockingbird in 5 to 10 words: Drawing lines means picking sides.

Mockingbird

Presented by timeshare as part of the Next Stage Theatre Festival

mockingbirdWho:
Playwright/Director: Rob Kempson
Featuring: Tess Degenstein, Beau Dixon, Margaret Evans, James Graham, Stephen Jackman-Torkoff, Esther Jun, Andrew Moodie, Rahnuma Panthaky, Andrew Pimento, Kaitlyn Riordan, Paula Wing
Producer: Lisa Li
Set/Costume Designer: Brandon Kleiman
Lighting Designer: Michelle Ramsay
Sound Designer: Lyon Smith

What: When we first meet the English department at Finch Park Collegiate, rumours are flying about a teacher-student relationship. Two days later, Mr. Foster has been removed from the school and everyone is trying to make sense of what has happened. An exploration of what happens when innocence meets authority, and the grey area between right and wrong.

Where: Factory Theatre Mainspace (125 Bathurst St)

When:
January 14 07:45 PM  buy tickets
January 15 05:00 PM  buy tickets
January 16 03:45 PM  buy tickets
January 17 04:15 PM  buy tickets

Tickets: $15.00

Connect:

#MockingbirdNSTF
mockingbirdtheplay.com
www.robkempson.com
@Rob_Kempson

 

Jan 6

Artist Profile – Jesse LaVercombe of Love Me Forever Billy H. Tender at Videofag

Interview by Hallie Seline

HS: Who is Billy H. Tender?

JL: Billy is the popstar of his generation, and the play is about his infamous concert on January 31st, 2021. Before his unorthodox transformation into contemporary folk music, however, he collaborated regularly with producer DJ Jeh, and his production company, Front Row Fleek Freak, was sponsored by major players like Neosporin, Chef Boyardee, the State of Israel, Teen Physique Drinking Water, and Kellogg’s Nutri-Grain Krunch. His mother, Stella Virginia Tender, was a Canadian stage actress until she accepted her position in the department of Post-Audience Theatre Theory and Semiotics Department at the University of Guelph. Billy’s younger brother, Hal, is fifteen and is his number one fan, A-1-since-day-1.

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HS: What was your inspiration to write this piece?

JL: Minaj’s “Anaconda” music video was pretty important, in all seriousness. As was DJ Khaled’s “Hold You Down”.

I spent seven months off the grid in 2014. I was living on this pirate ship that sailed the American East Coast performing opera and circus (it’s a long story…), but reintegrating into urban life was tough, and there’s this feeling of anxiety or loneliness I’d feel when I’d spend a couple of hours absorbed in Facebook… It reminded me of insomnia, and a lot of this play is trying to figure out and give some catharsis for that feeling.

I also wanted to write a show where I could wear a dress, but that element has been cut for a long time now.

HS: Tell me about working with director Adam Lazarus and dramaturg Guillermo Verdecchia.

JL: Both Adam and Guillermo are stupidly generous and infuriatingly smart, and they really like to make fun of each other.

HS: Can you speak about the role of music in the show?

JL: It’s big. Adrian Shepherd, in addition to building an already complicated sound design, has created basically a whole album of pop music, and it rocks.

HS: If your audience could listen to a song or a few before the show, what would it/they be?

JL: Check out our music videos on our Facebook page…

“Hey Adrian, can you make, like, a Skrillex song?”

“Sure.”

And three days later he sent us “Show Ü My Love”

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Short Answer Round:

HS: What music are you listening to right now?

JL: I’m giving a second listen to the audiobook So You’ve Been Publicly Shamed by Jon Ronson. It’s great. He also narrates it and his voice is comforting and it’s about all my nervous system can handle right now.

HS: Favourite place in the city?

JL: Golden Patty in Kensington Market has been very good to me these past few weeks.

HS: Best advice you’ve ever gotten?

JL: “I don’t believe anything you’re saying. Act better” – Adam Lazarus

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Who:

Written and performed by Jesse LaVercombe

Directed by Adam Lazarus
Dramaturgy by Guillermo Verdecchia

Music by Jesse LaVercombe and Adrian Shepherd
Sound design by Adrian Shepherd
Design by Shannon Lea Doyle and Kelly Anderson
Cheography by Neeky Dalir
Stage Managed by Alexa Polenz
Producer: Curtis te Brinke

What: “I want to tell you about a day. January 31st, 2021. It wasn’t that long ago, I believe.

It was a salient day, at least in North America. I felt it on the Internet and in the weather and in my tummy. It was like the zeitgeist finally saw itself in the mirror, and it wasn’t sure whether to fight or flirt, so it kind of did both and just ate itself. It was a Sunday, clear skies but cold.”

– Hal Tender
(second son of Stella Virginia Tender [former Canadian stage actress, now research assistant in the U. of Guelph’s Post-Audience Theatre Theory and Semiotics Department], younger brother of the one, the only, Billy H. Tender) FB event here.

Where: Videofag, 187 Augusta Ave

Tickets: http://www.brownpapertickets.com/event/2469896

When: Jan 5 — 12, 2016
Jan. 5th @ 8pm – SOLD OUT
Jan. 6th @ 8pm
Jan. 7th @ 8pm
Jan. 8th @ 8pm
Jan. 9th @ 2pm and 8pm
Jan. 10th @ 2pm and 8pm
Jan. 11 @ 8pm
Jan. 12 @ 8pm

Connect with us!

Spread the word: #billyhtender

Jesse LaVercombe – @jesselavercombe

Videofag – @Videofag

In the Greenroom – @intheGreenRoom_

Hallie Seline – @HallieSeline

Oct 31

Artist Profile: Lesley Robertson takes on the role of King John in the upcoming production by Shakespeare BASH’d

Interview by Hallie Seline

Hallie Seline: King John has been scarcely performed up until last year when Stratford staged it. Why do you think King John is due for a ‘come-back’ and what about it stood out the most after working on it now in comparison to some of Shakespeare’s more often produced work in Canada?

Lesley Robertson: I think King John is definitely due for a come-back because I think we all need a break from the over-produced comedies for a bit, while still getting to enjoy Shakespeare’s spectacular poetry, characters, and timeless themes of humanity. I especially think it’s due for a come-back in the bare-bones, accessible way Shakespeare BASH’d is approaching the play.  The text is heavy with political maneuvering, battles over ‘right’, and religious language – it’s very dense and rooted in its history. But with the clear direction of James Wallis, I think we will make this difficult, murky-seeming play come alive for an audience through our emphasis on the story and language (without relying on expensive sets and costumes) and our youthful energy and passion to tell a story about oppression. I personally celebrate the play’s complexity and messy imperfections – I think it suits the story, which is full of political and moral errors and people switching back and forth between sides. I also think it’s a great time to tell a political story with Canada just having had a very interesting election and also a travelling Magna Carta exhibit!

HS: What have you discovered in exploring the character of King John? 

LR: I’ve thought a lot about manipulation and what is right and wrong. I’ve rarely played characters that, on the outside, might be perceived as ‘villainous’ or even not likeable. But from the inside, those people are simply acting in a manner they think best. They are doing what they think is right and they are simply going after what they want and need. So, I guess that’s to say, I’ve found it very interesting to empathize with someone that has been hated so widely and for centuries! (That’s not to say I think what John does is ‘good’ and ‘right’!) I think Shakespeare has created a deliciously complex play and I hope to imbue John with the complexity of any human being; we are all vulnerable. I hope to complicate the audience’s inherited perception of “Bad King John.”

HS: What are you most looking forward to in doing this piece in The Junction City Music Hall?

LR: The proximity between the audience and our playing space, I like being able to see audience members’ faces, and, of course, the beer.

HS: Describe this play in 10 words or less.

LR: Oh, I’m terrible at this… Crap, are you counting?… “Oppression.”

Lesley Robertson as King John. Photo Credit: Kyle Purcell

Lesley Robertson as King John.

Rapid Fire Question Round:

HS: Favourite Drink at The Junction City Music Hall:

LR: I remember noting several craft tall boys that I love, but I can only remember Conductor’s Ale at the moment. Ask me again at the end of the run!

HS: Favourite rehearsal moment:

LR: When everyone laughed at me during an early movement rehearsal in which I created a giant angry horse with my body that simply yells “NEIGH!!!”

HR: Favourite place in Toronto:

LR: Other than my home, the 13th floor of Robarts Library.

HS: Where do you find inspiration?

LR: Music, literature, history, documentaries…

HS: Best advice you’ve ever gotten:

LR: Hm… My streetcar driver today said “Life is too short to be grumpy” and that was pretty great.

HS: What do you think is on your King John’s pre-show playlist?

LR: Something that really pumps me up I guess… like gangster rap… Yeah, probably some gangster rap.

King John Graphic

Directed by James Wallis

Featuring: Sochi Fried, James Graham, Bailey Green, Catherine Rainville, Lesley Robertson, Caitlyn Robson, David Ross, Matt Shaw, Tim Welham, Kate Werneburg, Jeff Yung

When: November 16 – 21, 2015

Where: Junction City Music Hall, 2907 Dundas Street West, Toronto.

Tickets: $19 online: shakespearebashd.com $20 at the door.

Connect with us!

Shakespeare Bash’d: @ShakesBASHd

In the Greenroom: @intheGreenRoom_

Jul 6

In Conversation with Sophia Fabiilli – Adaptor & Performer of The Philanderess in the 2015 Toronto Fringe

Interview by Hallie Seline

I had the pleasure of chatting with the Fabulous Fabiilli. I call her that as 1 – her twitter handle is FabFabiilli and I want it to catch on and 2 – she’s inspired me to think that should be her superhero name. Currently wearing the many hats of adaptor/writer, producer, actor etc. etc. in her show The Philanderess in this year’s Fringe Festival, Sophia shares her inspiration for the adaptation, the strength of her team around her and some very good advice for surviving the ever-necessary evil of wearing those multi-tasking shoes in indie theatre. #FringeFemmeTO power!

HS: What inspired you to adapt George Bernard Shaw’s The Philanderer for the 21st century?

Sophia Fabiilli: Want to know my little secret? I didn’t have a project when I applied for the Fringe (gasp!). I was trying to find the perfect play to produce, but nothing felt right and my gut told me I was trying too hard. So, I sat down in my front of my bookshelf and said: “What do you really like, Sophia?” (out loud, alone, and creepily in my apartment). And there was my copy of Shaw’s Plays Unpleasant. I loved working on a scene from The Philanderer in theatre school and I realized what I really like are plays that make me laugh and make me think. I’m also very passionate about the representation of women on stage and in the media, so thought it would be interesting to re-invent the play with a woman at the centre of a modern love triangle, while trying to let Shaw’s smart, funny, and witty writing inspire my own. Then I realized this idea would involve writing a PLAY, so I went around telling myself I couldn’t possibly do THAT. Then, I finally told someone the idea, they said “DO IT”, and I started writing (and I haven’t slept a full night since).

What resulted is a weird, little farce. Our tagline is “Open relationships, ballsy sexcapades, and weeping men… What would Shaw think of that?”. Laugh? Cry? Throw rotten tomatoes from the grave? Come see the show and tell me what you think over a Steamwhistle after.

HS: You have a great group of artists working on this play. What was it like bringing something that you had been working with so intimately as an adaptor to the team you have around you?

SF: My amazing director/dramaturg/work wife, Michelle Alexander, was the first person I asked to help me with this project and I will sing her praises to anyone willing to listen. It’s been her and I since the get-go and we have slowly built our mighty little team together.

HS: What’s it been like?

SF: As an actor and producer: AWESOME. Work with great people. They’ll make you look like you know what you’re doing.

As a writer: AWESOME. And, to be honest, a little overwhelming. If you hire smart actors, they will ask hard questions about your weird little play baby, which in the moment is challenging, but in the long run is invaluable. There were a few humbling rehearsals where discrepancies were pointed out and questions were asked and I had to go back to my laptop and figure it out. Overall though, everyone’s profesh (that’s how I say professional without sounding pretentious); they all know what they’re doing and they’re all invested. I’m extremely lucky to be working with them.

HS: As you mentioned, you wear many hats for this production – adaptor, writer, producer, actor – what was your experience taking on so many roles in this show and do you have any words of advice for others who are or might one day be in the same kind of multitasking shoes?

SF: Full disclosure: writing, acting, and producing this show is by far the most challenging thing I’ve ever done. It is as difficult as everyone tells you it is (Michelle and I answer each other’s calls “Hello! Panic Attack Central” which gives you an idea of what our lives have been like leading up to opening).

Even now that we’re open, I’m STILL working on trying to separate my different roles, but things always come up! For instance, once we started rehearsals, I was trying really to “hang up my writer hat”, but then… the ending needed a major rewrite. And then… the show was too long. And then… it was still too long. And then… it was still too long… Layer in a never-ending producing to do list and slaying my demons as an actor, and… yes, Panic Attack Central really should have been the name of my theatre company now that I think of it.

So, here’s my humble advice:

1) Just like in real life, wearing more than one hat isn’t a “good” idea. But wearing multiple hats in this crazy biz is often unavoidable, so: prioritize and carve out time in your schedule for the creative things. Often there are harder deadlines for the producer things and will take priority sometimes (okay, a lot of times), make time for the creative stuff (for writing, learning lines, warming up for your show)… because chances are the creative part is probably why you’re producing your own show in the first place.

2) Ask for help. This one is so hard! It’s hard to trust other people with your weird play baby (no one understands her like you do). Surround yourself with awesome people and let them help you. My stage manager, Laura Paduch, offered to take on producer-y things from the get-go and I will forever love her for that. I also ended up bringing on my awesome co-producer, Vikki Velenosi, who keeps forcing me to give her items off my to do list, which she then magically accomplishes. I will love her forever, too. And then there is my small army of friends who I call for advice, for help postering, or for free therapy sessions. Oh, and Mom built my set. So, yes, I would definitely recommend having handy (and retired) parents.

3) Think less, just do it. This became my weirdo Nike-inspired mantra. It’s very easy to get overwhelmed. Do one thing at a time. Make a to do list and start checking things off. Just do it.

4) Budget extra time. For everything. Yep.

5) Take care of yourself. Take breaks. Take your vitamins. Sleep. Eat well. Call your mom (especially if she built your set).

Please note: I did not do these things unless we count eating Nutella off a spoon at 2am as “eating well”.

6) Remind yourself to enjoy the process. Half way through rehearsals I realized I was stressing so much about making a play. A PLAAAY. Even though I am totally the CEO of Panic Attack Central, making theatre isn’t heart surgery, so I tried my best not to stress about it like it was (and failed, but this sounds like excellent advice, doesn’t it?).

HS: Tell us about your favourite aspect of the Fringe Festival.

SF: The lottery system. “Breaking into the scene” is really daunting and can feel impossible, but anyone can get into the Fringe! It doesn’t matter what’s on your resume!! I just love that. And the beer tent is pretty fun, I guesssss…..

HS: Describe The Philanderess in 5 words.

SF: Silly. Sexy. Weird. Ridiculous. Unicorn.

HS: We’re loving the #FringeFemmeTO hashtag you ladies started! As Femmes who are Fringing, any other shows you think we should check out?

SF: It caught on! Woohoo! I feel like an old lady who got her DVD player to work! Honestly, I have a very on-again/off-again relationship with Twitter, but this really is evidence of its power to connect people.

So many #FringeFemmeTO shows to see and so little time! Here are just a few in no particular order:

In Case We Disappear, Bout, Hanger, Adventures of a Red Headed Coffee Shop Girl, Morro and Jasp do Puberty, Waiting for Alonzo

The Philanderess

Presented by Truth ‘n’ Lies Theatre as part of The 2015 Toronto Fringe

PHILANDERESS G1

Meet Charlotte. She has a PhD in feminist philosophy, just asked her lawyer boyfriend to be her life partner, and authors a wildly famous blog about sleeping with men on the side. She has it all!
Until one of her lovers – and his entire family – crash her engagement party.
An outrageous, sexy, fast-paced farce inspired by G.B. Shaw’s ‘The Philanderer’!

By: Sophia Fabiilli
Company: Truth ‘n’ Lies Theatre
Company origin: Toronto, Ontario
Director: Michelle Alexander
Cast: Amos Crawley, Seth Drabinsky, Jakob Ehman, Sophia Fabiilli, Deborah Tennant and Suzanne Bennett
Creative team:
Stage Manager: Laura Paduch, Co-producers: Sophia Fabiilli and Vikki Velenosi, Designer: Laura Gardner, Fight Director: Nate Bitton

Where: Annex Theatre

When: 
July 02 at 07:00 PM  buy tickets
July 04 at 11:00 PM  buy tickets
July 06 at 01:30 PM  buy tickets
July 08 at 07:30 PM  buy tickets
July 10 at 05:45 PM  buy tickets
July 11 at 12:30 PM  buy tickets
July 12 at 04:00 PM  buy tickets

Warnings: Sexual Content, Mature Language

Tickets: fringetoronto.com

Connect with them: @truthnlies
@FabFabiilli

#FringeFemmeTO

sophiafab.com

Connect with us: @intheGreenRoom_
@HallieSeline

#GetYourFringeOn

Apr 6

One More Time with Feeling! Shakespeare BASH’d on remounting past hit “The Taming of the Shrew”

Interview by Hallie Seline

Hallie: Can you speak to me a little about remounting a show? 

James: It’s a really crazy experience! There’s a lot from the original production that has transferred over for us, but a lot of it is changing too. We’re three years older, with three years more experience (and marriage), so our approach to the show, the characters, and the relationship has evolved.

Julia: It’s kind of wonderful to have a full rehearsal period to revisit something you already know so well. You have an opportunity to try more and really dig deeper. Plus, we have some new people joining us for this production, so they’re bringing a new energy and perspective to the show that wasn’t there before.

Hallie: Why this show?

Julia: This show holds a special place in our hearts. It was our first full Shakespeare BASH’d production and we did it only months before our wedding. It was one of the most exciting summers of my life and the show was a huge part of it, so it’s amazing to get to revisit it and play opposite my husband again – that’s always fun.

Hallie: Anything new and exciting in this version? 

James: Lots of new and lots of old. The cast is a mix of returning and new, which is fantastic. The feel and energy of the original production is definitely still there, but the cast members are taking time to explore these characters with fresh eyes and Julia and I are discovering more and more about the controversial relationship between Kate and Petrucio. There’s definitely a lot of new stuff coming out. Plus, it’s in a new bar. The Monarch Tavern is a fantastic space and it’s allowing us to stage the show in a very different way than we did at the Victory Cafe.

Hallie: What can audiences hope to expect for this performance? 

Julia: Exciting, silly, heartwarming Shakespeare that keeps you laughing but also has a lot under the surface.

James: We’re really excited to talk with audience members after the show and see how it affected them.

Hallie: James, what’s it like to step away from the director’s role and back into acting? 

James: Of course, it’s a little tough. I’ve really enjoyed my time in the director’s position with Shakespeare’s plays. I really like shaping the story – it’s one of my favourite things. I think with acting, you have to let things be. You can’t control as much, if at all, at times, and therefore you have to take a breath and just be. Which is liberating as a storyteller. Surprises abound! Regardless, I have a great team on stage and off so I trust that the show will be fantastic!

Hallie: Describe the show to me in 5-10 words.

Julia: Hilarious, action-packed, beer-filled (and fueled), and full of love.

Hallie: What’s your favourite beer at the Monarch Tavern?

James: Great Lakes Karma Citra IPA

Julia: Oast House Barn Raiser Country Ale

Hallie: Favourite line from Taming of the Shrew:

Julia: “Ye are a baggage.” Shakespeare really knew how to hit where it hurts.

James: “Is not this well?” that’s what everyone wants to know.

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When: April 9th – 12th, 2015

Where: Monarch Tavern, 12 Clinton Street

Tickets: $18 shakespearebashd.com/tickets

Connect: @ShakesBashd

Connect with ITGR Hallie: @HallieSeline

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