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Artist Profile: Actor Jakob Ehman on Rebellion, Drive, Risk & “The Circle” at Tarragon Theatre

Interview by Brittany Kay

I sat down with the incredibly talented Jakob Ehman who is making his Tarragon Theatre debut in The Circle. We discussed rebellion, his drive for the craft, and the need for established theatre companies to take risks on young artists.

Brittany Kay: What has been your journey to getting to where you are right now?

Jakob Ehman: I was born in Regina, Saskatchewan. I lived there for a short couple of years. I moved to Calgary, Alberta until I was 5 and then we drove across the country to Nova Scotia. I lived in a couple of different places in Nova Scotia: LaHave, which is in the country and very rural, I lived in Bedford, and I lived in Dartmouth where I spent the most amount of time. At the end of grade 8, I moved to Toronto and started high school here at the Danforth Collegiate Technical Institute.

BK: What made you go to theatre school?

JE: I don’t know… I can’t really remember what it was that got me into it, but I had to take some sort of arts class in high school. I was interested in drama, I guess, and I had a great teacher! Her name was Heli Kivilaht. I think I remember one of the first classes I played this character ‘Indiana Jake’ and everyone laughed. My childhood memories have a lot do with me entertaining the family. I started to like making people laugh a lot. The years went by and that drama teacher left, but while she was there, I was pretty heavily exposed to some wicked writers – David Mamet, Beckett, MacIvor. I was in grade 10 and 11 studying those writers and that was kind of crazy to me at that time. I was so fascinated by it because it reminded me of the type of films I was into when I was in high school – ones with dark writing. It seemed pretty cool just to be able to do that, to say those words. I felt like I had an affinity for it. I wasn’t sure if I was going to pursue acting or not. I was still pretty into the idea of some sort of work in policing, investigations or the military. I decided I would apply to George Brown, NTS and Ryerson.

Vivien Endicott Douglas & Jakob Ehman. Photo by Cylla Von Tiedmann.

Vivien Endicott Douglas & Jakob Ehman. Photo by Cylla Von Tiedmann.

BK: Why those three?

JE: They’re all that I really knew, I guess. I was more into the idea of doing some sort of conservatory. Figured that if I was going to go do this, I didn’t want to have to also take a bunch of other classes and be in a university setting. I kind of decided if I didn’t get in, that would be that. I would go to UofT and be a spy or something.

I got into George Brown and I loved the feeling I had when I went to that audition and the Young Centre was new, beautiful and seemed great. So I kind of left everything else behind… gave in and immersed myself into that program and into the life of what I thought it was to be an actor and eventually then a creator, which George Brown wasn’t very helpful in overall.

BK: To create your own work?

JE: Yeah.

BK: Is that where HUMANZOO came from?

JE: Yeah. Sort of. George Brown had a couple of projects that were based in creation, but they had pretty specific ideas of what being a professional actor was and what they wanted us to be, at least that’s how I felt. It was actually helpful because it really gave me something to rebel against. That’s generally when I feel most at home.

BK: When you rebel?

JE: Yeah, I’m sort of an antagonistic kind of person, especially as an artist, though not necessarily in rehearsals. I don’t want to be like that. But you know, challenging everything.

BK: So how did HUMANZOO come to be? What happened after theatre school?

JE: HUMANZOO was an idea that was formed in theatre school. My great friend Edward Charette and I lived together. I talked a lot about ideas I had, just all the time…. just spouting off things. I think it annoyed him quite a bit. We had this idea about a human zoo, a zoo for humans. The actual company was all just ideas and a name that I liked, until I was contacted from the Hamilton Fringe. Somehow a spot had opened up there and they didn’t want to put it out to the public or have a whole bunch of people applying for this spot, so they asked me if I would be interested in doing something. At that time I had no clue what that would be. I decided to take the spot and figure it out after. I spent a week in the reference library reading every play that looked interesting. I looked for ones that had small casts since we were all going to be living at my parent’s house in Hamilton. Eventually I found this play called Normal by Anthony Neilson about this real life serial killer in Germany who killed a great many people. I thought the play was terrific and felt very inspired by it as soon as I read it. I kind of took the book… went downstairs and I ripped the sticker out of it.

BK: You stole it from the library?

JE: Yeah, I stole it from the Reference Library. The Reference Library, if you’re reading this… come get me, I guess. I’ve got it and I don’t intend to give it back.

So yeah, we did that and it was awesome. We won the Critic’s Choice Award. It was the first thing I directed.

Photo by Cylla Von Tiedemann

Photo by Cylla Von Tiedemann

BK: Do you have future plans with this company?

JE: I definitely want to do stuff in the future with the company. That sort of becomes about deciding how to manage your own time. I’ve been quite fortunate in the last couple of years where I haven’t necessarily had a lot of off time to plan a production or knowing when I’m going to have time next year. I haven’t committed to deciding that I won’t accept any acting work so that I can do that.

BK: You’re not just an actor, though. You’ve also sound designed, produced, directed, and written. How do you choose when you want to do what? Is it whatever is offered at the time or is it an active choice you make?

JE: Well, we went back to the Hamilton Fringe the next year. We really enjoyed our time there. I like the city of Hamilton. I knew I wanted to direct again but I also wanted to write and sound design once I started writing the play. I always want to be doing all of those things. I think that theatre is such a collaborative thing that if you want to, you can sort of have a part in all of those things, no matter what role you are in with the production. As an actor, you are still collaborating with a director. If you fight for your ideas of your character, you could feel like you have a say in some parts of the direction.

I guess it does come down to what is offered more. Acting happens more frequently for me. It takes a lot more of my own drive to make any of the other things happen. I’ve done a couple of sound designing jobs on the side but I’ve also been involved in the production as an actor so it’s never one thing at a time.

BK: What motivates you?

JE: I think just being really hungry. I’m obsessive – about the craft and about wanting to be…awesome. I want to be better every time. I want to inspire other people. I want to inspire people who I’m working with to work as hard as I want to work, so that what we give in the moment on stage is truthful and electric and vibrating with energy and life. I’m just sort of addicted to that feeling and to that kind of presence, but that type of presence takes a lot of preparation work and a lot of thought and time. It’s literally just thinking about the work, about the character’s stories and motivations like a detective.

BK: This is part of your rehearsal process, as well?

JE: Yeah. For sure.

How can I find other things to bring into this? How can I go deeper? And sometimes it can be really simple things you might not think of. Where does this person look when someone’s talking to them? Which eye? Do they look at both eyes? There’s an infinite level of details humans have. That makes me excited to investigate.

BK: We’re going to shift into talking about The Circle. What is it about?

JE: The Circle is about a group of young people from 15-18 years old. There’s this guy Ily, who I’m playing, and he’s living in his girlfriend’s mom’s garage. He’s dropped out of school and he sells weed and works at The Keg. During the day when his girlfriend is at school he gets this call from Tyler, an old friend of his that used to live at his place. It’s this guy who’s ended up living on the street and in various squats and in and out of homelessness. Tyler calls him wanting to hang out that night and Ily agrees but meanwhile his girlfriend has also invited her friend Will over that night with his new boyfriend Daniel. There’s this clash of groups that are going to come together and it really becomes a fucked up party.

Photo by Cylla Von Tiedemann

Photo by Cylla Von Tiedemann

BK: What draws you to this character?

JE: I think I’ve played a lot of emotionally unstable and intense kind of characters. When I read this one, I was excited because it felt more like a side of me. You know, a happier kind of guy. He’s just generally smiling and laughing. He’s the kind of guy who can hang out with any group. I dunno, it felt like I needed a change and play that part of myself and to not always be going down those dark paths.

I really think that within each of the characters there’s something every person in the audience, whether young or old, can relate to. The characters are so varied. The play is about them figuring out who they are and figuring out who they want to be. They are looking for a place of belonging with each other and in their own lives.

Jakob Ehman in The Circle. Photo by Cylla Von Tiedemann.

Jakob Ehman in The Circle. Photo by Cylla Von Tiedemann.

BK: This is a cast of all young people and a big first for Tarragon. It’s nearly everyone’s Tarragon debut. There’s been a bit of a trend with professional theatres not often hiring younger performers. How do you feel about Tarragon programming this kind of show filled with young actors?

JE: It’s a huge risk for them. This is Geoff’s debut play. It’s been produced before at ATP (Alberta Theatre Projects) but he’s still a very young writer. The cast needs to be playing 15-18 years old, so no matter what, you’re going to be taking a gamble on some very young actors that may or may not perform at the sort of level that an audience or critics are used to from an establishment like Tarragon. I think it’s going to pay off for them. The first step to making it pay off was hiring director Peter Pasyk, who took the time to find the right actors that were going to be able to make this thing live. Even then, it could still really have not worked out for them, but they have to do it. They have to do this play and plays like this, written by young people with young directors and young actors so that they can get younger audiences because their subscriber base is going to end and if they don’t have a new subscriber base and new people who are interested, they won’t survive. It’s a risky production but I think necessary for their survival.

Photo by Cylla Von Tiedemann

Photo by Cylla Von Tiedemann

BK: What is it like working with Peter?

JE: Peter is a funny guy.

BK: That’s it?

JE: He and I joked once when we were leaving the theatre about how he’d like to be described, and he said he’d like someone to say that he’s a funny guy. So yeah, I’ll leave it at that…

But he’s actually tremendous. He’s a tremendous director. A wonderful, lovely person to work with everyday. Really patient and demanding and never gives up on anybody or anything that he wants. I think he’s quite courageous and I had a great time working with him.

BK: Why is this story relevant today?

JE: I don’t think it’s specifically the story that makes it relevant. It’s quite simply about young people – that young people are portrayed fully, at all. They aren’t used as a device for some older character’s story. They’re not the singular teen in the play. It’s a play about them. That’s really different. That’s what’s relevant, I think.

Photo by Cylla Von Tiedemann

Photo by Cylla Von Tiedemann

Rapid Fire Question Round

Favourite Movie: That’s an impossible question.

Favourite Play: Nope.

Favourite Book: “East of Eden” by John Steinbeck.

Favourite Food: Sushi. Chino Loco’s burritos.

Last play you saw in Toronto that stayed with you: James Smith’s Lessons in Temperament.

What are you currently listening to: Solange, Bon Iver’s new album.

Advice for young emerging artists: Don’t settle for doing what a director asks you to do, always suggest something to do… make offers, continue every moment that you can. Try and give your own perspective, different intentions/objectives/movements. Never settle for just taking direction. Always take it, but give more than what you’re asked for.

The Circle

A Tarragon Theatre Production

The Circle, Tarragon Theatre

The Circle, Tarragon Theatre

Who:
by Geoffrey Simon Brown
directed by Peter Pasyk
starring Nikki Duval, Jakob Ehman, Daniel Ellis, Vivien Endicott-Douglas, Brian Solomon & Jake Vanderham
set designer Patrick Lavender
lighting designer Rebecca Picherack
sound designer Thomas Ryder Payne
costume designer Joanna Yu
fight director Steve Wilsher
stage manager Sandy Plunkett
apprentice stage manager Victoria Wang

What:
Welcome to Ily’s high school garage party: there’s the genius, the drug dealer, the runaway, the kid with ADHD, and the son of a priest. Everyone’s a total mess, but it’s better than being alone on a Friday night in suburbia. This remarkable debut by 26-year-old playwright Geoffrey Simon Brown is an explosive SOS from an orphaned generation desperately looking for a place to belong.

Where:
Tarragon Theatre Extraspace
30 Bridgeman Ave.
Toronto

When:
Oct 18 – Nov 27, 2016

Tickets: 
tarragontheatre.com

Connect:
Jakob –
w: jakobehman.com
t: @JakeEhman

Tarragon –
w: tarragontheatre.com
fb: /tarragontheatre
t: @tarragontheatre

Artist Profile: Jordi Mand – Playwright of CAUGHT, on stage now at TPM

Interview by Brittany Kay

I had the utmost pleasure of talking with the incredible Jordi Mand, playwright of CAUGHT, which opened this week at Theatre Passe Muraille in their Backspace. We spoke about creating your own work, the inner struggles you face when graduating university, and the differences between doing the job and getting the job.

Brittany Kay: Tell me a little bit about your new play? 

Jordi Mand: Caught takes place in the security holding room of a major department store in Toronto. It focuses on a female security guard and a teenage guy who she has caught shoplifting and how the situation unfolds between them. A police officer arrives to process him and the tables are sort of turned on this security guard. She thinks she has caught this shoplifter but everything starts to go awry for her. That’s focusing more on the events of the actual play, but the piece, itself, has changed a lot over time. To me, it’s really about justice and interpersonal justice – justice between people and their steep inner personal justices that they feel. I’ve spent a lot of time thinking about how some people in this world for lesser reasons seem to be able to get away with things and other people can’t. How does that come to be? What are the ingredients of our lives that bring us to that place? What is our moral code that allows us to actually break the rules or make the rules? That was a really big launching point for the show.

Photo of Jakob Ehman, Meegwun Fairbrother, Sabryn Rock by Michael Cooper.

Photo of Jakob Ehman, Meegwun Fairbrother, Sabryn Rock by Michael Cooper.

BK: There was a lot of development that went into this play. How did it come to be?

JM: It’s actually had a bit of a long life. So in 2009/2010 I was part of Nightwood Theatre’s Write from the Hip Unit, which is their emerging writer’s unit for emerging female playwrights. Write from the Hip has changed considerably in terms of its format, but at that time the objective was to write a 15-minute piece and so I wrote the first 15 minutes of Caught. Andy McKim at Theatre Passe Muraille asked me if I wanted to present something or hear something read at their Buzz festival. I hadn’t touched the piece in about a year and then decided I wanted to hear it again. I had been a resident artist at TPM for a number of years and both Andy and I knew we wanted to work on a project together. We were circling around different ideas and at the same time we both came back to that piece and the themes of justice and injustice, entitlement and consequences that are found in the play. We both agreed that there was a longer life for this piece than just a few minutes and started exploring it. I had been working with Andy dramaturgically and further developing it. There was a workshop of a earlier full draft in September and now we’re sharing it with the city.

BK: Why TPM? 

JM: When I graduated theatre school, I had been working for Obsidian Theatre in an administrative capacity. I was their Director of Development and Obsidian had done a co-production with Roseneath Theatre and TPM and it was just as Andy was moving into the theatre as Artistic Director. I first got to know him then and the philosophy of TPM, which I just sort of fell in love with. I just found their attitude towards storytelling and their artists and emerging artists really real and wonderful. They had put a call out around that time for Elephants in the Room, which was their emerging artist program, and they were looking for people to help launch that. So I approached them and said it was something I was really interested in doing. I became one of the four co-founders of Elephants in the Room. We also started Crapshoot, which still happens and so I’ve had a long relationship with TPM. I think a lot of artists, especially in this season who are sharing stories and are part of TPM, have similar connections with the TPM. The company has been an integral part of their journeys as they have been moving forward in this crazy theatre world. Then I became a resident artist with TPM and Andy and I really wanted to tell a story together and I wanted to tell a story with that company and Caught just seemed like the right fit.

BK: What a lovely journey.

JM: Yeah! Sort of a natural evolution over many, many years.

BK: Why the title Caught?

JM: The action is certainly a big part of it. I love how it has to do with how we find ourselves caught, either by our own doing, people catching us, us being caught by our own habits and our own hang-ups that we can’t get past, us being caught within society’s rules and regulations of what we can and cannot do – how that sometimes can work in our favor and sometimes it can work against us. We’ve really been spending a lot of time in rehearsals talking about how we can get these characters caught as much as possible. It’s also part of the ride for the audience and part of the fun of it – how can we get into as much trouble as possible?

Photo of Sabryn Rock, Jakob Ehman and Meegwun Fairbrother by Michael Cooper.

Photo of Sabryn Rock, Jakob Ehman and Meegwun Fairbrother by Michael Cooper.

BK: Tell me about your team?

JM: I’ve known Sabryn Rock (who plays Trisha) for a decade now. We went to the National Theatre School together. She’s amazing. I’m really spoiled, it’s a really incredible team. Jacob Ehman is playing our kid, James.

BK: I saw him in Sophia Fabiilli’s play “The Philanderess” in the Toronto Fringe and just thought “Who are you? You’re amazing!”

JM: I am really thrilled for him that he is getting the attention that I think he really deserves. He’s such a talented actor and he gives so much. I love watching him work on this piece because James is a confusing character, Jakob is such a spontaneous actor. It’s wonderful watching him process the play, moment by moment. I know what the character is going to do next but I don’t know what Jakob is going to do next. It’s really an actor’s play. The joy and pleasure of this world is really the moment-by-moment, tiny details that each character either brings to the other and the journey that the actors take their characters on. An actor named Meegwun Fairbrother plays our police officer and he’s a real presence in the room. As soon as the character walks in, everything changes. I feel that way with who Meegwun is as a person as well, so that’s just really amazing that those two line up. Sarah Garton Stanley who is the Associate Artistic Director of English Theatre at Canada’s National Arts Centre is our director. She is so focused in her storytelling. Each moment is so fresh and calculated. She has a really great brain and heart for this world. Our design team is fabulous. It feels like the right ingredients in the room for our world.

BK: Tell me about the design concept?

JM: It’s one room, one location, almost like a holding deck. There’s only a table and chairs. It’s very neutral. It has very little personality and it’s almost as if there’s the forth wall and part of it has just been cut out so you can see through it. Not like a two-way mirror… someone has just taken a knife and removed a chunk of it. So the audience will feel like a fly on the wall, like they shouldn’t be there or they’re intruding. It should feel a little bit like a scene of car accident on the street, where people are driving by and they can’t turn their eyes away from it. Hopefully we can do the same thing for our audiences. Fingers crossed!

Photo of Sabryn Rock and Jakob Ehman by Michael Cooper.

Photo of Sabryn Rock and Jakob Ehman by Michael Cooper.

BK: I’m going to put a hold on the play and ask about you. Tell me a little bit about your journey to where you are now.

JM: I’ve been involved in theatre for a long time. I was one of those theatre kids, where babysitters loved me because I would coordinate plays for parents to watch and they would sit upstairs and do nothing. I had been involved in productions as an actor as a kid for a very long time. I grew up in Richmond Hill and I was part of CharActors Theatre Troupe, where they had just auditioned to be one of the choirs in Joseph and the Amazing Technicolor Dreamcoat. They asked me if I wanted to be a part of it and that was a big thing for me as it was my first professional show. I missed school for a year. It really changed a lot for me. There was never a moment where I said, “I don’t want to do this.” At that point I thought I still wanted to act and so I went to Unionville High School, which is a performing arts school. Then I went to York for their theatre program for a year.

I’m not a particularly impulsive person, but there are these few markers in my life where I’m like, “I’m going to make this decision!” and I have no basis for it or even an understanding if it’s going to work out. York is great because it’s a generalized theatre program where in your second year you specialize. This might have just been the really bad student in me because school and I have had a bit of a complicated relationship, but I just remember hearing this voice being like “you need to be in a more of a conservatory program”. Someone I went to high school with who I considered to be the best actor was at the National Theatre School and I just remember saying, “I have to go there.” I started looking at all of the artists that really inspired me and a lot of them had graduated from NTS.

BK: So you left York before specializing?

JM: Yes. I auditioned for the acting program at NTS and got in. I went there really thinking I was going to focus on classical theatre, with my ultimate intention of acting at Stratford or Shaw. I was very focused on that being my trajectory. What I didn’t anticipate was that when I was there I would find this unexpected joy in creating my own work. The curriculum in our second year was focused more on creating your own work and largely for yourself. I ended up finding that work really enjoyable and craving it more, which was a big surprise for me because I thought I had really defined for myself what I thought I was going to do.

I graduated and moved to Toronto and started auditioning. I had applied to SummerWorks the year after I had graduated with this solo show that I had written in school. It was about my family and me. I used my own name. It was a very personal story. I applied and they said that they were interested in my voice but they were not offering me a slot in the festival. They had offered me a spot in the Under-25 Reading Series instead, which provided the opportunity to develop my piece with a mentor, followed by a live reading. They partnered me with Hannah Moscovitch.

BK: Wow! What an amazing person to be paired up with.

JM: Right?!

BK: Could you ask for a better mentor?

JM: No. It was crazy. That was sort of one of two path-changing moments, I think. Even when I was at school and we were graduating, I was still conflicted about whether I wanted to be an actor. My parents are pretty academic and they are huge supporters and lovers of the arts but they are not artists. I don’t come from an artist family. I really felt that after going to a conservatory, where you don’t get a degree and you don’t get a diploma, the idea of me saying that I don’t know if I want to act anymore, felt like such a slap in the face for them and that I was letting myself down. It sounds so silly saying it out loud, but I actually felt so ashamed that I wasn’t sure if I wanted to keep acting. So in meeting Hannah, who had gone to NTS and who had been in the acting program, who had really started very seriously on her trajectory as a writer at that point, was the first person I could actually talk to about writer things. She was the first dramaturge I had in my life. She was the first mentor I ever had. Sometimes when you find the right person at the right time it just makes all the difference. She answered every question that I had. We worked really closely together. There was something about it that, as I was working on that piece, and as I was working with her, something just started to feel right.

BK: So that was it for your actor days?

JM: I just wasn’t always prepared to do the work as an actor that I should have been. I liked the idea of getting the part but once I got the part I was like, “well I guess I gotta do this now.” Actors have to have such a commitment and dedication to the process. I just don’t think I have that as an actor. Whereas, as a writer, I can see the difference in my process now, in that case. Meeting Hannah and working with her was a huge game-changer for me.

BK: So what happened with Summerworks and your play?

JM: I ran into Michael Rubenfeld on the street and he said, “Just to let you know, we’re going to hire an actor to read your piece for you.” I was confused because the play was about my family and me. I was writing it for me. I was supposed to be in it.

His response was, “That’s fine and you can pick it up and take it wherever you go afterwards, but I think it would be really helpful for you to just hear it.”

BK: How did that change things for you as a writer?

JM: As I started writing, knowing that in mind, I decided to change the character’s name from my name because I thought it was bit silly for somebody else to say it. Then I stared changing other details and this solo show went from being one actor on stage to there be being three actors on stage, with multiple characters. What seemed like such an inconvenience at the time, turned out to be one of the biggest gifts. I was really only writing for as well as I could act as opposed to telling a story fully. If I started writing in territory that really scared me as actor, then I would stop writing it, because it was just for me. Somebody else having to do that work meant that I could go anywhere. It never occurred to me to write for other people. So the combination of working with Hannah, somebody who was really at the rising point of her process as a writer, and this large shift writing for other people made everything click. That was the key moment I unlocked everything. From there, I’ve been writing pretty seriously ever since.

Photo of Sabryn Rock, Meegwun Fairbrother and Jakob Ehman by Michael Cooper.

Photo of Sabryn Rock, Meegwun Fairbrother and Jakob Ehman by Michael Cooper.

BK: Where do you find inspiration for your work?

JM: My life. There is a lot of me in every world that I touch. People may see it and not know anything about that. I’m really inspired by my family. I’m very inspired by the world that we are living in, this city and beyond. What is it that is defining and challenging and turning our world right now? I’m really worried about the state of our world right now. There’s just chaos in so many areas of our lives. I don’t know where it’s going to go, but in the last 10 years even, things have changed so much. Our connections to each other have changed so much. I find inspiration in how troubling I find that. So that’s a large part of Caught, too. Who are we as people today? Who are we raising? Who is this next generation? Do we have any accountability to each other anymore? Do we mean anything to each other?

I have a lot of those questions. I find inspiration in fear, in anger and in not knowing. For me and for a lot of writers these plays sort of become our venues to try to work out a problem or a query.

Photo of Meegwun Fairbrother and Jakob Ehman by Michael Cooper.

Photo of Meegwun Fairbrother and Jakob Ehman by Michael Cooper.

BK: Is there a way you stay motivated to write? What are ways you keep the motivation alive and dedicate yourself to the work?

JM: The last two years I’ve found it really helpful to work on multiple projects. That’s the way it’s sort of panned out. If I feel like inspiration is resting a little bit, I find myself cheating on my plays with other plays that I’m working on. It’s not that I’m not working, I’m just working on something else. So that helps.

Thinking about an audience, I find, is the thing that always keeps it going for me. Continuing to come back to what’s at the heart of it. What is it that I’m trying to say? What is that I want audiences taking away? Writing is such a solitary process. You spend so much time here in your head. I mean, you have your team which is amazing, but then you’re in a rehearsal hall and it’s still pretty contained. Thinking about the people who are going to be receiving it; who you may never have any contact with, you never know how they are going to experience it and you can only hope that it’s the way that you intend. Thinking about them, that magical audience, is the biggest thing for me.

BK: What do you want audiences walking away with?

JM: Right now, today, I would really like audiences to walk away and think about how they are treating other people and how they are treating themselves in relation to other people in this crazy world.

Photo of Meegwun Fairbrother and Jakob Ehman by Michael Cooper.

Photo of Meegwun Fairbrother and Jakob Ehman by Michael Cooper.

Rapid Fire Question Round:

Favourite Book: Today, I will chose The Unbearable Lightness of Being by Milan Kundera.

Favourite Play: Shape of Girl by Joan MacLeod

Favourite place in Toronto: My bed.

Favourite Food: Berries.

Favourite Movie: Toy Story.

Last play you saw: The Public Servant.

Best advice you’ve ever gotten or words to live by: Do the work. Focus on the work.

Advice for emerging artists: Do what works for you. The amount of work you get might mean you might not be able to sustain yourself in any capacity. I’ve talked to a lot of artists recently and they’ve expressed a shame or trepidation about having part-time jobs or full-time jobs to support themselves. They think they have failed or they’re dishonouring their craft in some capacity, but I don’t think there’s one way to make something happen for yourself. I think everyone’s life and reality is different. You have to shape your life in a way that you can do the work and do it with a full heart and not have to feel guilty for making excuses for yourself. Don’t ask yourself, why you’re not doing it like this person or that person. You have do it the way you do it. I wish someone told me that early on. It would have saved me a lot of sleepless nights. It’s so hard. It’s hard for everyone, even the people it doesn’t seem hard for. Look for mentors and make connections. Treat those connections like gold. Find people that help you do what you want to do. 

CAUGHT

A Theatre Passe Muraille Production. On stage now until April 24th.

Who:
Written by Jordi Mand
Directed by Sarah Garton Stanley
Dramaturgy by Andy McKim
Starring Jakob Ehman, Meegwun Fairbrother & Sabryn Rock
Production Design by John Thompson
Sound Design by Debashis Sinha
Assistant Director: Donna Michelle St. Bernard

Where: Theatre Passe Muraille Backspace, 16 Ryerson Ave. Toronto.

When: March 31 – April 24, 2016

Tickets: Pay-What-You-Can Saturday & Sunday 2pm Matinees, $17 Under-30, $20 Artsworkers, $28 Senior, $33 General Admission

passemuraille.ca/caught

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Theatre Passe Muraille – @beyondwallsTPM

In the Greenroom –  @intheGreenRoom_

Brittany Kay – @brittanylkay