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Posts tagged ‘Macbeth’

Artist Profile: Something Wicked This Way Comes… Q&A with the Macbeths – Amelia Sargisson & David Ross

Interview by Bailey Green

I interviewed actors Amelia Sargisson and David Ross who play the Macbeths in Shakespeare Bash’d upcoming production of the Scottish play. We discuss working with Bash’d, focusing on storytelling and taking on the title roles. 

About the actors:

Amelia was born and raised in Montreal, she moved to Toronto to attend Ryerson Theatre School under the direction Perry Schniederman. Post graduation she decided to stay in Toronto to pursue her career. Her love of the city was a “slow burn” and she finds the city’s openness to new, and international, ideas and methodologies inspirational.

David is originally from New Hamburg, a menonnite town, and didn’t start out as an actor. He actually left a career as an engineer to attend the University of Windsor’s Acting program. Both actors share a healthy list of theatre credits to their name with companies across the province and the country.

Bash’d does Macbeth, how will it be different from other productions?

AMELIA: There isn’t a concept per-se. Bash’d built their reputation on a bare bones approach to the text which highlights the characters with their relationships and scenes above all. The action isn’t transposed, it’s just letting the words do the storytelling.

DAVID: I get questions from people all the time, what’s your concept? Are you doing Elizabethan? But our goal is just to be clear with the storytelling. For example, we fight with Bowie knives and there are garments that distinguish people as military or non-military, but there’s no time period. The story telling is clear and our main focus.

Julia Nish-Lapidus, Maggie Blake and Hallie Seline. Photo by Kyle Purcell

Julia Nish-Lapidus, Maggie Blake and Hallie Seline. Photo by Kyle Purcell

On the challenges of these well-known roles: 

AMELIA: Director James Wallis has insisted several times in rehearsal that there is no “Lady Macbeth,” there is only you. In some ways I agree with him, I only have myself to bring to the part. I can only trust that the words and language of this character will be the gateway into her soul, heart and thoughts. Her ambition is fierce in a way that is kind of frightening. I would call myself fierce, but I would never consider murder to achieve my objective, thankfully, so trying to make that leap is where I have to fill in the blanks.

DAVID: The expectations of people are astounding and if I think that for a second I get a little panicked. People love this show. When people say they can’t wait, the outside part of me smiles and the inside says what the bleep. I am what I am. I draw on my life experience; I’ve had a scrap at a hockey game but I’ve never dissected humans on the battlefield and been lauded and given medals for it. I’m an urban dweller that grew up in the country. Growing up, I knew men that were honourable and noble, warriors and athletes. It’s been wonderful getting him [Macbeth] to walk when I wanted him to run. I lost a lot of sleep, but even that gave me insight into the show.

On building the marriage of the Macbeths:

DAVID: When I first found out about Amelia’s casting I was thrilled. But then I laughed a lot because the woman playing the love of my life is actually the wife of my mortal enemy onstage (Macduff, played by Kyle Purcell) and they got married during the rehearsal process! Amelia is amazing, as attested I think by how busy she’s been in the theatre world. It’s such a terrifying relationship, and she plays a character that convinces me that one of the worst sins in the world is a-okay. It’s exciting for me to be convinced by her and it’s tough to put up obstacles. The relationship, for me, is the crux of the play. When it starts to fall apart, the plays goes to hell.

AMELIA: James [Wallis] identified that we have good chemistry onstage and we didn’t have to work for that. The privilege of working with Dave is that he’s game to try it every way, preposterous or silly or wrong and in doing that we’ve discovered textures and layers in all forms. There’s only so much you can learn by talking about it [which we did] but sometimes you just have to get in the muck of it. It’s important for me to have esteem and love and admiration for this man, for his courage and nobleness. I have found that easy to access because he is all of those things, lovable with a true heart. 

David Ross and Amelia Sargisson - Photo by Kyle Purcell

David Ross and Amelia Sargisson – Photo by Kyle Purcell

On working with Bash’d:

Amelia met Artistic Director James Wallis at Ryerson, and Amelia and David met when they were cast as the Capulets in Wallis’ staged reading of Romeo and Juliet, which was Bash’d first theatrical endeavor.

AMELIA: Beyond the first two staged readings, this is only the second full production I’ve done with Bash’d but it’s the first time James has directed me. It’s a privilege for me to work with him. His ability to illuminate the text is unmatched. The company is less practiced in doing tragedies, focusing on lighter content in the Fringe Festival. But last year they did R & J, and [Macbeth] is one of Shakespeare’s more mature tragedies. The company is continuing to grow and taking on more ambitious projects.

DAVID: Many things are different and the same. The same is James’ knowledge of Shakespeare. Before the show he has mined every source for context, meaning, double meaning, triple meaning, historical basis and he’s done that for every word of the play. What is different is I have never been a part of the rehearsal process this much. It’s my first crack at a title character. James and I have discussed things over drinks, through text and email, in moments passing each other in the hall. I have to say the process of building my character hasn’t been much different, but the journey is just a bit longer.

AMELIA: And the result will surely be different. 

Why theatre?

AMELIA: I believe in the power of a well-told story to affect people in different ways […] and to inspire them to make changes in their own lives. I love and appreciate the opportunity theatre creates for communion, to be in a room of sentient beings with a shared life and away from the solipsism of our glowing screens. The power of live theatre is very unique.



One week only, Macbeth runs at the Monarch Tavern (12 Clinton Street, just south of College) until Sunday November 23rd.

Tickets: $17

Follow Bash’d: @ShakesBASHd
Follow In the Greenroom writer Bailey Green: @_BaileyGreen
Follow In the Greenroom: @intheGreenRoom_

An Interview on Theatre Archturus’ – Weïrd – An immersive original take on the witches of Macbeth

Interview by Madryn McCabe

I sat down with director Philip Psutka and actors Lindsay Bellaire, Lindsay Sippen Eitzen and Polly Phokeev to chat about their show, Weïrd, an immersive original take on the witches of Macbeth.

MM: Tell me a little bit about Weïrd.

Philip: Weïrd focuses on the witches of Macbeth and tells the story of Macbeth from the witches perspective. Essentially, what mistakes they make in picking Macbeth in the first place, and then what they have to do to go about fixing that. We use aerial silks whenever the witches are doing a charm or whenever they’re using any sort of force of nature or anything like that.

MM: Is aerial silks a medium that Theatre Arcturus often works in?

Philip: Yes. Basically any sort of rigorous element that we work with, silks or any sort of aerial apparatus are a huge part of it. And the big thing with us is, we’re not so much a movement or physical theatre company where we want to use silks or another discipline to, for instance, take a break from the story and focus on a character, focus on a moment or a character’s internal journey and express that through the silks. What we want to do is incorporate the physical discipline into the scenes, continuing the story, while dialogue is going on, having interactions between characters. So it’s less of taking a moment in time and looking at, for instance, an internal journey, rather it’s actually physically incorporating the silks as the main set of the piece into what the characters are trying to achieve in the moment, with each other. So overall, it’s really continuing the storytelling.

Lindsay B: We try to keep it fluid and try to avoid making it disjointed or making it seem contrived. We’re really trying to mesh them together in a seamless way.

Weu00EFrd Totem

MM: So you interact with the silks in the way actors interact with the furniture onstage or with props onstage?

Linsday B: Yeah. Or sometimes with a character. Because [the silks] do move, and you have to be able to react to those kinds of things. Something that I discovered through the process was realizing how much it was going to be like having another person there. Usually the set is stagnant. You pick up a prop and put it down, and it stays there. Whereas with this, the slightest breeze will move the silks, and your own movement will have a ripple effect through it, and that changes the way you have to react to it, constantly.

Polly: And it’s really interesting inheriting the silks. Let’s say Lindsay’s done a charm, and then the next person who approaches the silks has to deal with the way they’re all twisted up and the directions in which they’ve gone. When we were rehearsing in isolation, it was a non issue. The silks would be straight down but then it’s interesting to go into that again. 

MM: I know that Lindsay B has trained in silks. Have the rest of you trained as well?

Lindsay SE: Nope, just with this process! (laughs) 

MM: So how did you get mixed up in this crazy business?

Lindsay SE: I don’t know! (laughs) I’m friends with Lindsay and Phil and they asked me to be a part of the project. Partially, I think, because they know that I am passionate about creating things and taking a very physical approach to theatre, which I think is really cool and really important. I thought the silks were a brilliant idea. I said, “That sounds amazing! It’s going to be so cool!” And I knew it was going to be hard, but I didn’t really just HOW difficult it was going to be. I’m like, “I didn’t know I owned those muscles!” Whenever you see someone performing aerial silks or circus arts or anything like that, they just make it look so easy. We realize that they’re working, but I don’t think people realize just HOW hard it is, even to just get off the ground.

Polly: You have had more time than I have to start learning how to do the silks, and I’m ecstatic when I can even get an inch off the ground, so I’m so impressed with what Lindsay B can do. The way I got involved in the project is stage combat. I know Dan Levinson from Rapier Wit, where I did my Intermediate with them last June, and he knows Phil, who did his Advanced with them, so that’s our connection.

Philip: That fits right in with our company. It’s not just circus arts or aerial silks, but it is really rigorous physical discipline. So we’ve got an aerial performer in the show [Lindsay B], we’ve got someone with a lot of experience with dance [Lindsay SE] and then we’ve got someone who has a lot of experience training with stage combat [Polly]. We’ve got three separate physical disciplines that we’ve been able to incorporate into the same piece, and it’s been amazing how well the three of them have actually flowed together, how seamlessly they’ve worked together as part of the whole piece. I feel like the reason why it has worked so well that way is that whenever we are focusing on a moment where one of those disciplines or one of those physical aspects is really coming out, we keep going back to the text. We go back to “how is this actually forwarding the story? How are we staying in the scene? How is this not stepping out and being its own thing?” So as a result, we’ve worked the scenes and we look at them afterwards, and there’s this moment of realizing “Oh, right, you did some aerial in there, you did some dance, and there was even some stage combat in there” and we realized we couldn’t actually tell where one started and one began. At least not consciously, because all we see is the full scene and what’s progressing with the story.

Lindsay B: It’s interesting how much ground work in dance and movement [Lindsay SE] has been working on while I’m thinking vertically, and having Polly always being on us about text. Which has been very helpful to always be pulling it back to “Why are we doing that?” text-wise and character-wise. We have a fight scene in there, and it’s my first fight scene. It’s been really interesting for me because I’m learning things too.

Lindsay SE: I just wanted to comment briefly because you touched on the text and I wanted to say how cool it is that we’re using all text from Macbeth. It’s the witches’ scenes, and we’ve pulled a little bit of text from other scenes that fits into the story that we’re telling. It’s all from the story, it’s all from Macbeth.


MM: So there’s no original text?

Philip: No original. Basically, we have the witches scenes from the actual play. We’ve even changed those up a little bit. Sometimes there are lines from other parts of the play added in, but we also have the moments with the witches where we DON’T see them in Macbeth. It’s ‘what is happening in between those scenes?’ and those scenes in our piece are what’s formed out of text from other scenes in the play itself that other characters say. Sometimes it’s been an entire page almost of Shakespearean text that another character says literally the way it is, that could transfer to the witches’ story perfectly, and we have moments where we have four lines, and each of those lines have words from different parts of the play to form the line. Some of them are very quick jumps from one part of the text to the other, but it all works seamlessly so it is the story of the witches, whether we’re used to seeing them in Macbeth, or whether it’s some place or time that we’re seeing in between that’s completely new.

MM: So how did you come up with this concept? I’ve not heard of anything like this happening before. There are physical-based theatre companies, but none that seem to be so text focused.

Philip: Amazing! That’s great to hear. We originally thought of the idea for this show because we were talking about the possibility of working with a pop-up theatre company who was looking for some stuff, and the only information we could get from them about what they might want from us is ‘some aerial, maybe some other physical stuff, maybe some classical text, you know, everything, whatever’. So we were like, ‘okay, we need to figure out something that works that will play to our strengths, the aerial, Shakespeare, classical text, and we can develop a piece that will work outside or inside, where we can set up the rig literally in any space, and have either part of the show work if it’s a ten minute version that they want, or a full length show’ so we started working with the idea of the witches because that made the most sense in terms of things that we could think of off the top of our heads that was Shakespeare that would be easy to incorporate in terms of silks in a very believable way that they audience could buy into. So we just started working on it on our own, and then we thought ‘fuck it, let’s do it on our own!’ Which is great, because when we have other opportunities, like if we wanted to do it at events, it’s a very easy piece to adapt sections to that. 

MM: For something that seems so complex, you guys are talking about it as though it’s very easy and fluid.

Lindsay SE: Well, sure there are challenges of course, but I don’t think there was anything that was super hard to pull in and have to work really hard to make something work in terms of the storytelling. I feel like the storytelling isn’t a stretch.

Polly: Like with anything, you compartmentalize and then you work bits and it comes together, layer by layer. Like a cake.

Philip: And everyone has endured the weather with us.

Lindsay SE: We’ve been lucky, I think, to work outside for a lot of the rehearsals. It’s been really neat to have the challenges in terms of weather and wind and rain. I think it all added to the process, because in the play, the witches scenes take place outside, so it’s just added a lot to what we’ve been able to do.

Lindsay B: And we’ve been playing to people in their apartments. It’s been a very communal experience. We’ve met so many people in our building because of it. We even drew out another aerialist! There’s another aerialist who lives in the building which I found out because I had my rig up and she was so interested. We’ve been working with our feet in the dirt. We’ve got such a great cast. Sometimes it’s wet. Sometimes it’s muddy. I wish I could provide a better space and it’s like, ‘sorry guys, please slog through this with us, we have no budget’ but it’s been a cool experience and we’ve found amazing people with really good attitudes.

MM: How would you sum up Weïrd?

Linsday B: Sisterhood.

Polly: Collaboration.

Philip: Immersive.

Lindsay SE: Storytelling.


Presented by Theatre Arcturus

Weu00EFrd Poster Final Small

Deal: Bring your Weïrd ticket to Mill Street Brew Pub or Beer Hall before or after the performance on the day of the performance to receive 15% off food!

When: Shows Oct 17 8pm, Oct 18 2pm, 8pm, and Oct 19 2pm, 8pm.

Where: Playing at the Ernest Balmer Studio in the Distillery Historic District

Witch 1………………………….Lindsay Bellaire
Witch 2……………………Lindsay Sippel Eitzen
Witch 3…………………………….Polly Phokeev
Director……………………………Phillip Psutka
Stage Manager……………Alexandra Brennan
Choreographer…………………Lindsay Bellaire
Fight Director……………………..Phillip Psutka