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Posts tagged ‘Shannon 10:40’

“Power, Authority & Shaking Up Traditional Structures” In Conversation with Rob Kempson, Playwright/Director of TRIGONOMETRY

Interview by Brittany Kay

We had the pleasure of re-connecting with playwright/director/artist/educator/all-around smart-cookie Rob Kempson to chat about Trigonometry, the final instalment of his trilogy, The Graduation Plays. We spoke about what can come with taking time to explore a subject more thoroughly, the need to shake up traditional structures with power and form, and how he wants these plays to ignite more complex discussions that continue beyond the show. The world premiere of Trigonometry runs from March 16th to March 25th.

Brittany Kay: Tell me a little bit about your show?

Rob Kempson: I think the best way talk about the show is in the context of it as part of a bigger series. I think, like all the other shows in the Graduation Plays series, Trigonometry is about the interaction of power and authority structures in a school setting. What I found from my own teaching is that students have the capacity to take power that maybe isn’t assigned to them in a traditional school atmosphere. The authority in the school is clear but the power is not. These plays explore how we manipulate power and how the powerless gain their voice.

I have found in this series that some sort of student expression of sexuality is a great way for them to steal power because, being in a school setting, a lot of that is about tight-lipped, very square principals. It doesn’t always mean that they’re having sex. It means that they understand that by talking about, or referring to, or in some way bringing up sexuality, it makes teachers uncomfortable because they’re not allowed to talk about it in a school. I found that sort of tension really interesting.

Photo of Daniel Ellis, Alison Deon and Rose Napoli by Robert Harding.

BK: Why are you so drawn to the themes of student power and authority?

RK: I’m really interested in that idea because I don’t know how the education system can grow and change and find what’s next, unless we address the way in which students are now on the same level as teachers. We aren’t as different as we once were. I think unless we figure out how to tackle that, the education system is going to be stuck in this bizarre route for a long time.

BK: What makes Trigonometry different from your other two shows in the series?

RK: In this particular case, I tried to take a different perspective than the other two plays. If I was to simplify it down, I think SHANNON 10:40, Mockingbird and Trigonometry are all about the same thing. Something happens where a student takes power, it’s unexpected, and it’s about the way into that, which I think is different between them. SHANNON 10:40 is a largely student perspective, Mockingbird is a largely teacher perspective and Trigonometry is about the parent perspective. I think that’s why this is the end of the trilogy. I sort of found three different ways into the same problem. I don’t think I’ve solved the problem in any of the plays, but I’m interested in finding out how using those different perspectives enlightens new aspects of it.

Trigonometry 1

Photo of Rob Kempson by Robert Harding

BK: In the Greenroom has been able to talk to you about both shows in The Graduation Plays. You and I spoke at the beginning of your process and here we are at the end of it. Do you feel satisfied that this is the final play of the trilogy?

RK: I needed to work out what I wanted to work out. What all of this meant? Why this has been a multi-year process of writing all these things? I think this started as a nugget that I was picking at and I realized I wasn’t going to be satisfied just picking at it. I needed to go as deep as I could. I felt in writing the first two that I hadn’t quite uncovered everything that I wanted to uncover. I knew there was more there to explore, but I didn’t know exactly what that was going to be. The Graduation Plays, in a way, is a graduation for me as a writer and as an artist because I really gave myself the opportunity to spend time exploring a particular theme in a particular area. Not only with different plays, but in different structures of those plays with really different numbers of characters and really different play setups.

Photo of Daniel Ellis by Robert Harding

BK: Why the title Trigonometry?

RK: Everyone should read Sarah Ruhl’s 100 Essays I Don’t Have Time to Write. Sarah Ruhl is one of the greatest writers still living and that book says a lot of smart things that are very digestible. She talks a lot about play structure and one of the things she questions is why we see plays as having an arc and what would happen if a play had a different shape. I started thinking about that, what would a triangle shape play be like? The laymen’s answer is that it would have 3 people in it. I just started to think about why that was an interesting structure to explore. What did making a triangle play mean for me? Does this play have an arc? Of course it does, but it does happen in 3 separate parts. Each character is used in the same way. Each are only in 2 of the three scenes.

BK: How does trigonometry come into the structure of the play?

RK: The play is designed like a trigonometric function. If you know the sohcahtoa method, so SOH stands for Sine, which is opposite over hypotenuse; CAH stands for Cosine, adjacent over hypotenuse; and TOA stands for Tangent, opposite over adjacent. I built the play that way. If you assign each of those to characters and you sort of extrapolate as to why you might call those characters by those titles and then you apply those trigonometric functions to those characters, what happens in those scenes is mathematical.

Photo of Alison Deon by Robert Harding

BK: Incredible. Do you need to know anything about math to see the play?

RK: No. (laughs) If you watch it, you would never see that unless you really went into it with that perspective. That’s where the title came from. It came from me wanting to write a triangle play and I get a bit obsessed with ideas like that. I sort of spin into what could that mean structurally, what could that mean in content, in tone, and form, and all of the other things you think about. I love finding things to weave through.

One of the most common things teachers say is that math is all about relationships. If math is all about relationships between angles and lines and numbers and symbols and all of the things that go into that, then math is of humans and humans are of math. There is a connection there that maybe we like to sometimes deny. It was a really neat discovery… I also had to watch so many Youtube videos about trigonometry to try to remember.

Photo of Daniel Ellis, Alison Deon, Rose Napoli by Robert Harding

BK: Where did the inspiration for this specific story in the trilogy come from?

RK: I have no idea. I mean a lot of the catalyst for the first play, SHANNON 10:40, came from what was the 2015 fight against the new Sex Ed. Curriculum. This play riffs on that in a way that Mockingbird didn’t. I needed to explore it more actively. It started from there.

The other thing that is true of Trigonometry, is that I don’t really love any of the characters. That’s not something that people generally do. I tend to write people who I mostly like with some villains. I started thinking about people who I don’t agree with politically or philosophically or educationally. We are living in such a polarized world that we have to try to learn how we listen to one another and who’s deserving of that respect. I tried to listen to what those people had to say. They became some of the voices in the play.

BK: Why this story right now?

RK: I think that this is a story that is now. One of the things that I think is a fact in contemporary classrooms that is such a struggle are cell phones. It sounds so simple and silly and trite. The effect of having personal property that you can’t abscond or take away from kids that is so distracting to them changes the education game entirely. It changes the power dynamic between students and teachers. I think that anyone who has been in a contemporary classroom will see themselves in this play in a way that is frustrating.

BK: Oh yes. It’s insane, they’re just staring at their phones and re-watching Snapchat videos.   

RK: I’ve been in those rooms, where the integration of technology is really exciting and innovative, but where I get a bit lost, is the way in which it allows a whole other avenue for students to be making bigger choices in the way they choose to react to what their teachers are saying. It’s not only the choice of apathy or tuning out and looking at their phone, it’s also the choice of if they record you. Are they taking your picture? Are they texting their friends saying something about you? The power dynamic really changes because students have this thing that disables you. This play is for “now” because this is a story that happens everyday in schools and I really wanted to explore that.

Photo of Rose Napoli by Robert Harding

BK: Tell me about your cast?

RK: The actors are the most amazing humans. Rose Napoli is giving a performance that will be talked about for a long time. She is remarkable. I was new to Daniel Ellis. I saw him in The Circle and, working with him, he has just so many great insights about who the character of Jackson is and how he is able to tread the line between being a good kid that maybe does bad things. Alison Deon, who I think is one of the most under-used actors in the country, who I’ve known for a number of years from the Thousand Islands Playhouse, is a brilliant performer. Her range is enormous and it’s really exciting to be able to showcase her in this city. People deserve to see the work of all three of these actors. They’re just phenomenal.

BK: And your creative team?

RK: I’m once again collaborating with the fabulous Lisa Li. She’s the best and has been a real dream to work with as she always is. She’s also working with the support of Erin Vanderberg. Katie Saunoris is our marketing and publicity person. Beth Beardsley is our stage manager and is amazing and everyone should hire her. They are an amazing team. Dream dream dream.

Then we look into the design. Anna Treusch is our set and costume designer and is one of my most deeply loved collaborators. In the next 3 months, we are working on 3 shows because we work so well together. She forces me to work really hard. It’s a good relationship. Kaileigh Krysztofiak is a new collaboration for me and is a such cool up-and-coming lighting designer. When I found out that Andy Trithardt, who I’ve seen as an actor a million times, was also a sound designer, I wanted to get him on board. He’s looking at how the idea of trigonometry comes into the design. How and where do we see triangles and how do we hear that? How can we hear things in three? The design team is allowing this play to be explored more fully and deeply.

Photo of Anna Treusch, Beth Beardsley & Rob Kempson by Robert Harding

BK: What do you want audiences walking away with?

RK: I want them to be divided. My favourite thing is for audiences to walk out and have something to talk about on the car ride home. I don’t want them to come out and have the same opinions of each of the characters. I want people to like one character over the other. Questioning who is making the right decisions for the right reasons. I hope that there is a lot of disparate conversations happening after the show. I really want audiences to walk out with something to chew on for themselves. John Patrick Shanley’s Doubt is such a brilliant parable not only because it’s such a well written play, but because it makes you feel doubt. You walk out feeling the thing that he asks you to explore through these characters. While my play is not called Doubt, I want people to walk out feeling differently about the people that they just witnessed and maybe testing their own morals or testing their own values through the lens of these characters on stage. That’s exciting…I think, I hope!

BK: Anything else we need to know about?

RK: This play stands on its own, so if you haven’t seen the other two in the trilogy that’s okay. You don’t need to. There’s nothing that you will miss. For those who have seen both or any part of it, I think that this will be a really great conclusion for you. I feel so grateful that I have been able to work with collaborators on all three of these pieces that have allowed me the artistic freedom and desire to explore something as fully as I can. If you want to see the outcome of that, I’d encourage you to come out and check out the show.

Trigonometry

Who:
WRITER & DIRECTOR: Rob Kempson
SET & COSTUME DESIGNER: Anna Treusch
LIGHTING DESIGNER: Kaileigh Krysztofiak
SOUND DESIGNER: Andy Trithardt
FEATURING: Alison Deon, Daniel Ellis, Rose Napoli
PRODUCER: Lisa Li
PUBLICIST: Katie Saunoris
ASSOCIATE PRODUCER: Erin Vandenberg

What:
Gabriella wants action. Jackson wants a scholarship. Susan wants a family. In this new play by Rob Kempson, three disparate people find themselves bound together by desire, destiny, and a few scandalous photos. Trigonometry is about how far we go to get what we want: what we do to survive.

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

When:
March 16 – March 25

Tickets:
416.504.9971
trigonometrytheplay.com

Connect:
#trigtheplay
w: trigonometrytheplay.com
fb: Trigonometry Facebook Event
t: @rob_kempson

Meet Some of the Cast & Characters: 

The Sex Ed Curriculum, Plays in Threes & Making a Statement with a Dildo – In Conversation with Rob Kempson, Playwright/Director of SHANNON 10:40

Interview by Brittany Kay

Brittany Kay: Tell me about your title character Shannon and SHANNON 10:40?

Rob Kempson: Shannon, the character, was born out of my work as a teacher and meeting students who don’t feel like they are welcomed in the environment of school. I’ve taught in a lot of settings where they are welcomed and that is truly amazing, like if you look at an arts school, for example, and the amount of students who are queer or questioning or in some of sort in-between place with their sexual identity or gender identity, those schools tend to be leaning towards a more supportive side. What was most interesting to me were kids who are incredibly confident with their sexuality and are able to talk about it openly, and the way that other kids in school respond to that kind of confidence and power. I was not one of those kids. After creating Shannon, I started thinking about myself as a queer teacher and the challenges associated with that in this day and age. I thought putting those two people on stage together might create an interesting dynamic.

BK: What has been your inspiration for writing this show?

RK: I’m producing two plays of mine this year. SHANNON 10:40 is the first one before the holidays and the second one is called Mockingbird, which will be in the Next Stage Theatre Festival in January 2016. They are part of a series that I’m calling The Graduation Plays. I think that I tend to work in threes. I kind of get obsessed with an idea for a little while and hang out with that idea in my brain. I’ve been teaching for a long time and so I’ve obviously always thought about school settings but for SHANNON 10:40 and Mockingbird, it was just their time in my brain to come into being. I was ready for them to exist. Jokingly, 2014 was the year of Grandmas for me. I did a musical that was about a grandma (The Way Back To Thursday) and then I did a piece at Hatch that featured three grandmas (#legacy). I don’t think my grandma phase is over, perhaps, but I’d like to think that now I’m on to my school phase.

Once I get interested in a given environment or topic, I want to explore that from a lot of different places before I’m done with it and sometimes you can’t fit all of that into one play, so it becomes two plays.

BK: Is there a third one in your series?

RK: I think there’s a third play… and I think I know what it’s about. I certainly didn’t imagine I would get into Next Stage this year and also get to produce SHANNON 10:40 this year, so the fact that they are being presented so close together is very exciting. I feel really lucky.

BK: Why the title of the series – The Graduation Plays?

RK: I always thought of them as a series and then a smart publicist friend of mine told me that I needed to name it as a series if it’s going to be one. Of course, initially what came to my mind was the Education Plays and I thought, “well that sounds stupid,” and then I thought that that’s not actually what this is about. It’s about all of us as an education community but also us as a world advancing in some way. Getting to somewhere that we weren’t before. That’s what graduation is in theory and I think I imagine these plays to both showcase characters and situations that challenge what we expect and challenge what we understand to be acceptable.

I think that there are so many examples of students taking back power because they need to act out, they need to say they’re not happy, they need to stand up for themselves… there’s a lot of different reasons. The term ‘graduation’ is kind of about all of that – it’s about moving forward and understanding something new. Both plays have that sort of characteristic to them.

BK: How has teaching, being in a school environment, and around these types of students influenced your writing?

RK: I feel so lucky that I get to work as an artist educator and as an artist because those two streams for me are incredibly important in my life, in my career, and they ultimately inform one another. So things that I’m working on in my artistic practice often end up infiltrating my work as an artist educator and vice versa. Things that happen in my practice as an artist educator always make their way into my writing. There’s this real sort of back and forth between those two parts of my brain.

Hallie Seline as Shannon in SHANNON 10:40

Hallie Seline as Shannon in SHANNON 10:40

BK: Why 10:40?

RK: Oh, because that’s the time of Shannon’s guidance appointment. She’s going to a guidance appointment at 10:40. It’s not like 4.48 Psychosis or anything crafty. It’s literally the time of her guidance appointment. The timeline is all about the school day and 10:40 is midway through second period, it’s right before lunch and she’s been called out of class to come to this guidance appointment. There’s a very different kind of day for students because school starts so early in the morning and ends so early in the afternoon.

BK: This play is very timely and appropriate for what some are calling The Education Crisis that is going on.

RK: Yes. It’s not really brain surgery though… Oh, the world changes but we’ve done the exact same thing for a very long time? If we expect to be relevant and expect to connect with our students and we expect to have our education system actually do anything for the community that we live in, it needs to change with the world. The bureaucracy that prevents it from doing so is, in fact, the problem. We need to be able to respond quickly with curriculum development. We need to give teachers enough autonomy to be able to work with the curriculum in an innovative and progressive way, but we also need to be able to support them as they make those choices. The message of Shannon 10:40 is definitely political in scope in the sense that a teacher, Mr. Fisher, is dealing with this desire to be a progressive forward thinking teacher and he’s not receiving the support that he needs to in order to do that effectively. Shannon is a student who’s caught in the cross-fire, not feeling represented in her school, not feeling represented in her classes that she has to take and, therefore, feeling oppressed. She is feeling like she is the victim of oppression in her everyday life as a student and so, of course, she’s going to do something to change that, because she has to.

I think the play is about students figuring out a way to state their case, to share their message, to say what they need to say—and students don’t always do that in the most appropriate way. That’s what it’s about: a student taking back the power and fighting the oppression of that system.

BK: Tell me you’re inviting Kathleen Wynne because this is so timely around what is happening right now in the world of education.

RK: I do have dreams of doing so. I’m definitely inviting some folks who are into education pedagogy and hoping we’ll be able to have a discourse around that.

BK: I think that’s what theatre is about… that, often it needs to reflect what’s happening in our day-to-day.

RK: I agree. I also think that we don’t give students tools to talk about or react to oppression, but we then oppress them. If we’re not teaching them how to react to that in a way that’s appropriate, how can we expect anything but outbursts, outrage and acts of defiance because they need to be heard. They need to say what they feel.

I think the last great bastion to knock down in a school setting is really around sexual and gender diversity and it’s way better than it used to be. It’s not like we aren’t making progress but it’s when in that progress that we need to recognize we’re never done… We still need to work. We still need to continue and develop.

BK: What do you want audiences walking away with from SHANNON 10:40?

RK: Hopefully, a new perspective in their toolkit when they’re thinking about the way that education works in this province. And, also, that they got to see a show with a dildo in it! We haven’t even said that—Shannon brings a dildo to school.

Rapid Fire Question Period:

Favourite movie: Sister Act 2.

Play: Impossible to choose… You Are Here by Daniel MacIvor?

Musical: Elegies.

Food: Cheese.

TV Show: Please Like Me.

Book: Favourites are so hard… I don’t like the commitment… The Interestings by Meg Wolitzer

Best advice you’ve ever gotten or something you live by: This is where I find myself. You have to be happy where you are.
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Who: Written and Directed by Rob Kempson
Featuring Qasim Khan and Hallie Seline
Set and Costume Design by Anna Treusch
Lighting Design by Oz Weaver
Sound Design by Daniel Maslany

When: Wed‐Sat at 8pm, Sun at 2pm

Where: Videofag, 187 Augusta Avenue, Toronto

Tickets: $20 or $15 for Artsworkers/Students. Plus a $10 Halloween ticket treat for Saturday October 31st at 8pm.
Available at shannon1040.bpt.me

Connect with us:

Rob Kempson – @rob_kempson #shannon1040

Brittany Kay – @brittanylkay

In the Greenroom – @intheGreenRoom_

 

*Disclaimer: Please note the editor’s personal involvement in the show has not affected the editing and content of this piece. The views of this interview are that of the interviewer and the subject.