Interview by Brittany Kay
Vanessa Smythe is one incredibly unique performer. She combines poetry, music, spoken word and storytelling into a memorable and mesmerizing experience. I feel very grateful to have sat down with her to discuss her new show, Lip Sync Sleepover, which opens tonight at Streetcar Crownest.
“It can be scary being vulnerable with parts of your life that you’re still sorting out.” – Vanessa Smythe
Brittany Kay: Tell me a little bit about your show.
Vanessa Smythe: I think the show is ultimately inspired by my fascination with childhood, wonder and the kind of magic you see in the world when you’re a kid and how it gets harder and harder to see that magic as you get older. It’s the search between those two places of childhood magic and the realities of being an adult.
BK: Why the title, Lip Sync Sleepover?
VS: The title was a strong impulse I had. I didn’t really fully understand why that was what it was called. Growing up I loved to do lip syncs. They represented ultimate happiness and joy for me. Sleepovers were what I (and maybe not on a conscious level) associated with true love and intimacy and companionship. It spoils the show to talk too much about that. It’s kind of a clue about what we go after as young people and how that changes as we get older.
BK: How did you get into storytelling, spoken word and poetry?
VS: Let’s see… I’ve always considered myself a storyteller since I was a kid. I remember a professional storyteller came to my classroom when I was in grade one and she told a ghost story and I was like, “Oh My God. That is just the most powerful thing,” and so I wanted to do that. When I was little I was always making up routines and filming them with my dad’s video camera. I was just drawn to different ways of creative expression, which sort of evolved into what I’m doing now. I was really into poetry for a while and this show has some poetry in it but colloquial storytelling is a lot of the show, which is new for me.
BK: What is your process when creating these shows?
VS: I’ll typically make up stuff out loud and record myself and then listen to it later, or make a video. I’m very private initially. I usually don’t share any of my stuff with anyone else until very late in the process. I’ll rent a venue like Free Times Café and I’ll have a mini show and test out new pieces in front of an audience. There’s not a lot of attention paid to structure at the beginning. It’s mostly just following impulses and then seeing if any of these pieces might belong together.
BK: Then how do you structure it down to be a coherent piece?
VS: I have struggled with that in the past, which is why I’m really excited to be collaborating with Mitchell Cushman on this. He’s developing and directing the piece.
BK: What’s it been like working with Mitchell?
VS: Mitchell was the first person to sort of give me a chance, I think, as a solo performer. Crow’s Theatre did this site-specific one person show festival a couple of years ago where we took over parts of Leslieville. Mitchell put me in. I was kind of a wild card, like nobody knew who I was, and I don’t know if anyone still knows who I am.
Mitchell felt like he saw something unique about what I was doing and what inspires me to do what I do. Right away, I have trusted him as somebody who seems to really understand how I work and how I can be pushed further. We’re exploring movement as a device in this show, which I’ve always wanted to do but never have known how. He is offering some of his own really good instincts about how some of these pieces can bridge together to become something that belong together. He has such a great balance. His fingers aren’t all over the piece, but at the same time he’s able to dare me to try different things, which is very hard to find, so I’m grateful.
BK: What inspires you to do what you do? Why storytelling?
VS: I love stories so much. I think stories are sacred and magical and I think that they remind us of who we are and who we are to each other. I remember doing a residency at Banff for their spoken word program and the mentors were really amazing. It was the first time I worked with d’bi.young anitafrika and she led this series of workshops where she talked about the role of the storyteller in the village. Your responsibility as a storyteller can be to protect what is sacred and nurture a place for it. On a deep level I really believe that. I try to remember that as all of the details and variables can kind of distract you; you care about if people come or if it’s good, but I try to as much as I can to go to that initial impulse. I feel that if I have any chance of making something genuine or honest that’s where it has to come from.
BK: Are there any fears or excitements about presenting your own stories and work?
VS: Yes, there are certainly things that scare me. Almost everything in my shows is inspired from true things that have happened to me. It can be scary being vulnerable with parts of your life that you’re still sorting out. I think you have to be really clear with yourself about what your intentions are because if you want some kind of validation or even laughter or acknowledgment from your listeners, you have to be very careful why you want that and what you actually might be seeking. I try to be as a clear as I can about what draws me to each piece and who it’s for because if you can connect to why you’re doing it, then no matter if it’s received or not, you can sort of still be a bit protected by your knowledge of whatever that impulse was. It keeps you a bit supported because otherwise I feel like it can be slippery.
VS: I like feeling like I can have a one-on-one conversation with the audience. I try to really be present and breathe in the room and meet the energy of whoever is there. Which is exciting and thrilling and kind of unpredictable.
BK: You also have a background as an actor and as a performer you sit somewhere in the middle of storyteller and actor. I find that incredibly unique. How did you get there and what kinds of things helped and guided you into this work?
VS: I know it’s kind of a hodge-podge. Sometimes you can feel a bit lonely because I’m not sure where I fit necessarily but I think that there’s also something cool about that, as well.
The most formative things in my training? I have a big dance background, so I’ve always been interested in physical language and live performance from a theatrical standpoint. I did my undergrad in philosophy, which really got me passionate about writing and writing poetry. I think ever since my undergrad, I’ve kind of had a very specific impulse about what draws me to storytelling and why I might try to do it and commit a life to it. Then it’s just fun to get inspired. A lot of my influences are musicians. I don’t try to pay attention to where I belong because you can kind of get a little bit stuck in your own notions of yourself. I just try to un-obstruct myself as much as I can. I try not to worry too much about the categories.
BK: Most of the time, you’re working and creating alone. Is there something that motivates you to create?
VS: I find usually, whether I realize it or not, whatever I’m making is probably what I need to hear. If I listen in the right way (and not to everything you make, sometimes it can be a lot of garbage too) if you’re lucky you can maybe kind of understand something about what you’re going through or something that teaches you where you are in this moment. That can be really nice. Even though it’s lonely, it’s kind of a way to be more okay with wherever you’re at, which makes you feel less alone I think… in the best of times… sometimes.
BK: How is your storytelling different from when you are portraying a character in a play?
VS: It gets hard. My favourite acting coach will have you do an exercise when you’re rehearsing a scene with him of making you do the scene in your own words. I like that because I feel like it stimulates both my writer brain and my actor brain. I can access the material in a way that I don’t have to work so hard to access when it’s my own stuff. I get used to starting with an understanding of the person I’m portraying. That’s something that helps me bridge that difference. I do think there is an exciting thrill of portraying somebody that’s not you. There is maybe more permission you give yourself to go further with certain choices, so I try even in my solo show to dare myself in the same way as if I had a disguise on. You talk to a lot of actors who will describe that feeling of freedom when they put on another mask, they can say and do anything.
BK: What do you want audiences walking away with?
VS: I hope people feel more connected to the things that they care about. I hope they feel more connected to the people they care about in their lives. I hope that they have a bit of fondness when they imagine the child-like version of themselves because that’s sort of what we’re championing in this new piece.
Rapid Fire Questions
Favourite Food? Greasy Breakfast.
What music are you listening to? Modest Mouse’s new album.
Favourite place in Toronto? I love the waterfront. I love to find streets that I have never walked down before. Anywhere when it’s warm out.
Favourite musical? The Phantom of the Opera. Once.
Favourite play? The Encounter by Simon McBurney
Favourite book? I like Miriam Toews.
Favourite movie? Lots.
Best advice you’ve ever gotten? My mom telling me to “make your bed every morning.” And my other advice, just to be kind.
Lip Sync Sleepover
Created & Performed by Vanessa Smythe
Developed & Directed by Mitchell Cushman, With Support from Crow’s Theatre
What day of childhood do you wish you could live again? What would you tell your 7-year old self, if you could write and send her a letter? In this new solo show, and in her “spellbinding combination of storytelling, stand-up comedy, poetry and song – all at the same time”, Vanessa Smythe takes us back to childhood in this poignant, funny, deeply personal celebration of the people we dreamed we’d be – and the memories that remind us of who we truly are. A celebration of life’s tricky disappointments – and its enduring, understated joy.
Streetcar Crowsnest (Scotiabank Community Studio)
345 Carlaw Ave (Dundas and Carlaw)
Two Nights Only: Thursday May 25 8:30pm & Friday May 26 8:30pm