Fiction about a real-world tragedy risks sensationalizing the events that remain painful for a lot of people. But they also provide the opportunity to explore human behaviour, to directly address the impacts of violence and trauma.
That my play was even considered by a theatre I had no prior relationship with now seems like a tremendous luxury.
“We shouldn’t take ownership of something that’s publicly funded.”
Contemporary feminism is as complex, as diverse, as rich, and as paradoxical as are the humans who practise it.
Does Canadian theatre have its own style, its own multicultural flavour? Is it widening its audience appeal? Will it ever be as popular as hockey?
Diversifying our stages is not a challenge we can address solely by commissioning lots and lots of new plays.
The pamphlet showed a young contemporary James Dean–style figure, leaning on a wall in a cool, loitering pose next to an electric guitar. It read: “Christ Embassy Church: God believes in YOU!”
Every working actor on Broadway nods conspiratorially when you say you’re “covering” for another actor.
(the City, not the Musical)
“Hey Toronto friend! Wanna come see my show in Hamilton?”
“I mean, maybe, I dunno.”
How do actors cope when it feels like the world is ending?
Have you ever asked an artist for archival footage of their show? They usually say, “No, it’s terrible. Nothing like being there.”
People often ask me which I enjoy better: acting or writing. The best answer I can give (aside from “who cares?”) is that one teaches me about the other.
Every director no matter how esteemed should—at least once every other year—work with kids.
When an actor receives news that they have an audition, two reactions usually occur: “YAY!” and “FUCK!”
Edinburgh is the largest arts festival in the world. I went on my own, to survive it.
“It’s a struggle, sometimes, to be like, My wife is the consistent breadwinner in the family.”