photo credit frederic solenthaler
 

Dear Citizens of Toronto whom I adore,

            It is with a heavy heart that I announce publicly that on May 8^th, 2009 I pack a plethora of belongings into my aunt’s snazzy car and drive to Halifax to give some love to my family, snuggle with my dog, finish my MA degree, and teach eight weeks worth of small children how to be actors. I will be in Halifax until early September, when I will return to you with all the gusto of the Tasmanian devil caught in a tornado.   

            As much as I will miss you, and I grieve over all the amazing shows I am going to miss in leaving my Toronto home, I am as excited as a child in a candy store to announce that two magical things are going to be happening simultaneously while I am away! The first is that my blog is coming with me to Halifax! So, expect more fun updates, reviews, interviews and shenanigans because they will be plenty! I am also planning a sojourn to Prince Edward Island to catch those two Anne shows, and meet up with Michael Hughes, who is playing Gilbert in Anne and Gilbert in Summerside! So, look out for that! There will also be special features coming your way featuring Canada’s biggest theatre stars- AND OF COURSE- THE TWISI AWARDS! You should vote and make Canadian theatre history today! twisi.awards@gmail.com

            But, Toronto, do not feel abandoned, for I am proud to announce something brand-new on the blog! While I am in Halifax, actor/playwright/National Theatre of the World book club president Meghan Hubley is going to be my perpetual special guest blogger and she will review shows in Toronto, and conduct interviews with theatre artists in my absence. This means that as of May 10^th, 2009, The Way I See It, will be in Toronto and in Halifax AT. THE. SAME. TIME! KAPOW!

            So, please do keep checking in and swinging by. I appreciate your support so very much and I thank you for reading the blog and I hope you enjoy it as it swings into this very exciting summer.

            To introduce Meghan to the blog and all of you to Meghan, we sat down for an interview at the double-decker Starbucks on Church Street on Tuesday afternoon, before, like the good theatre aficionados we are, she headed North to Tarragon and I headed South to the Berkeley Street Theatre. We had a howl of a good time.

Amanda Campbell (AC): Where are you from Meghan?     

Meghan Hubley (MH): Halifax, Nova Scotia. Kanada. The best city on Earth… Canada’s Ocean Playground.

AC: When did you first get involved with the theatre?

MH: Well, when I was about fourteen or so was when I decided that this is what I wanted to do for my life… so that was like… last week *grins*. But, I mean, I had started taking classes- theatre classes- when I was five or six. But when I was fourteen or fifteen, I realized that this was what I was going to do with my life.

AC: Can you talk a little bit about the play you wrote last year?

MH: Sure! It’s called Honey and Jupiter and it is--- it started as a short story… or a short story collection, when I was fifteen and then I dropped it for awhile. Jupiter is the main character and the other character is an eating disorder and I wanted to make it about their relationship. Honey is not supposed to be the devil on the shoulder as some people might see it. The play explores the relationship and the different levels that they arrive at together and separately. They are best friends, sisters; they have a mother/daughter dynamic in that feeling of protection. I don’t like saying that it’s a play about anorexia because that’s not what I set out to write. … And it was a great experience! I did it in the Atlantic Fringe Festival last year with two people that I did my acting program with at Neptune and my friend Lesley (Smith) who went to George Brown. And I was still writing while we were in rehearsals so I was getting the actors’ feedback, and it was really a collaboration. Having them to work with, and getting to watch them work, Sarah (McCarthy) and Lesley developed this physical relationship, so it was not just about the text… and the movement seemed fitting with the show. It was wild. Dangerous. I was terrified. It was the most liberating thing I have ever done, and I want to do more.

AC: What is your favourite thing about the theatre scene in Halifax?

MH: In Halifax? I definitely love the underbelly and the support that lies there, a little North of Argyle Street, like the Bus Stop (Theatre) and even The Space, they do amazing stuff at The Space. Things are really starting to bloom there and to take off and the underline thing that I love about Halifax is that people will come see your shows in the community. I felt very supported there. And there’s these very creative, unique, things that happen, like Café DaPoPo, which I saw many of and performed in, and Luna/Sea’s show last year, there is so much self creation there and the people are so beautiful so the work that they create is going to be beautiful too.

AC: When did you start writing?

MH: The first thing I remember writing was in grade two or three, when we had first gotten our PC and it was about this balloon and it floating away. I remember I was in our home office typing and my mom came in and said “that’s a really good story” and me being like, “it’s just a story about a balloon.” But I don’t think I’ve ever not written, even if it was just journal entries. I did my first playwriting class when I was fourteen… almost fifteen with Josh MacDonald and that was the first time that I had the chance to write dialogue, which I soon found was going to be very, very difficult.

AC: What was the first show you remember seeing?

MH: I think it was when YPCo (Neptune Theatre’s Youth Performance Company) did Peter Pan. Wait—I saw you do The Wizard of Oz… but I must have seen stuff before that. When did they do that?

AC: Peter Pan was in 1998. Wizard of Oz was in 1999.

MH: So, it must have been (Peter Pan). Wow, I don’t know if that was the first one. But I remember that I was in the front row and I was with my friend Anthony, who now goes to Sheridan, and Peter Pan was played by a girl, and Anthony’s older brother kept saying that over and over, that Peter was being played by a girl. And I could not understand how he couldn’t understand that it was Peter Pan. And he kept saying it and I remember feeling that irritation. …. Suspend your disbelief!!

AC: Who was the first performer you remember connecting to?

MH: Hm. That I really remember connecting to…

AC: The first person that you took out your programme and looked at their name and went, “Wow! This person is awesome!”

MH: The cast of The Rocky Horror Show at Neptune (Theatre) which I saw at the beginning of grade nine. I stopped taking theatre classes when I was twelve because I was doing lots of sports. … Because I’m an athlete too *sly grin* And that summer was when I had come back and realized, “well, this is what I’m gonna do.” And that fall they did The Rocky Horror Show. And I had already loved the movie, so I was already going to love it. And then at the beginning we all got free Cinnamon Lips so I was already like, “This is the best play EVER!” And the show was awesome. Raquel Duffy was in it. Steven Sutcliffe was Frank. Amazing. And Lawrence Haegert. He was Brad… to Raquel’s Janet. Pamela Gordon as Magenta. She gave us candy first, and at that time, that was the role that I wanted to play. I have since realized that I am more of a Janet… But, that was the first time I remember thinking, “these people are superstars.” And actually, it’s interesting that we’re talking about Rocky Horror, because also my first musical audition was for Rocky Horror.

AC: Where was that?

MH: It was for TNB (Theatre New Brunswick) last summer. It was a fun audition. I just sang, I didn’t have to do sides. It was a sort of hassle even getting the audition because I don’t have an agent, and I’m not in Equity and I had just graduated… I guess Rocky Horror means a lot to me. … How Sentimental.

AC: Why did you decide to move to Toronto?

MH: *laughs* I don’t know!! Um, because I’m addicted to gambling and moving here was a gamble? I don’t even know what that meant. (Toronto’s) bigger. It’s faster. I want to challenge myself. See more.

AC: Krelbourn?

MH: *laughs* No. See more, do more. I think it’s been more of a challenge for myself as a person than actor-wise or writer-wise. I’ve been going to an Acting scene study class and did a writing class at the University of Toronto, but the challenge is not being surrounded by people I know. Having to spend the day with myself, which I think is good, because it informs my work as it comes and it happens. It’s having to deal with the alarm going off at 4:45am… or squirrels living in the walls of my apartment. Shit like that, it’s all life. I’m also in Toronto because it’s something I needed to do, I needed to push myself. I needed to be pushed. Not necessarily dramatically, but as a person. … And now I’ve been here five months so someone fucking give me a job or put on my play! I’m done being a person! *giggles*

AC: What have been some of your favourite theatre experiences since arriving in Toronto?

MH: The first time I walked into Tarragon (Theatre) and saw all these portraits of Judith Thompson. Meeting Judith Thompson!! Scorched was the first show I saw in Toronto and what a way to start seeing shows here! I remember thinking, “if everything in Toronto is gonna be this good- hot damn!” I really like the Tarragon. Even if I don’t really like the show the best, there is always something impeccable there whether it is the set, or the costumes or a particular performance. The story in Scorched is so gut-wrenching and it is so well written, such a well written puzzle. I really liked seeing the way the story was told. There were no rules. You could have someone in present day walking around in a circle while members from the past were onstage too and no one was like, “This is confusing. What’s going on? You can’t do that.” There was so much represented by the playwright and the director and the actors, and they basically were like, “this is how we are showing this story.” It’s really liberating to see that there are no rules on how to produce theatre. … Also Flighty Club Foot”-

AC: “Flighty Club Foot?”

MH: It was an improvised one-act play by the National Theatre of the World in the style of Neil LaBute. It was very touching and as everyone else was laughing, I was like “oh my god” (connecting with Naomi Snieckus’ character). Who gets weepy at an Improv show, honestly!?

AC: Who are your biggest theatre inspirations?

MH: Always Martha. Darling Martha Irving. Martha was one of the first people who was like, “do the things that scare you” and I admire that about her. Also, she’s an underwear actor, she has to be in the clothes of the character that she is playing and I’m like that too in my scene. Um… I love- I got to see East of Berlin by Hannah Moscovitch and I love her writing. I love the way she goes from monologue to dialogue for her characters. The monologues are for the audience and the fourth wall goes up and down. That happens in Honey and Jupiter to some extent. The idea for me was that so much came from a diary and that the audience is where to release all that to. It is so personal. It’s also liberating to realize that the rules are what you say they are. I also learned a lot from being directed by Alex McLean in our end of the year show in my program at Neptune (Neptune Theatre’s Pre-Professional Training Program). It was Lily Alta (by Kenneth Dyba). And he would be like, “Meghan, you’re riding a motorcycle. How are you going to make a motorcycle?” So, it was all physical training with our bodies. You just set the rules, and then you can do anything. A barn was supposed to catch fire at the end of the play, so we were square dancing at break-neck speed to represent the barn burning down. And we could get away with it. Alex was very inspiring in that way. … Do you remember, Amanda Campbell, when we went to Impromptuesday (at Second City) that time and Kayla (Lorette) talked a lot about realistic acting styles in Improv? I love that there can be just those real moments that are created out of nothing. It’s like that in writing too, I guess. I love that—that’s why we go to Impromptu Splendor every week- because Kayla, and well, all of them, are so fantastic. They friggin’ write forty minute plays every week and it took me six months to write mine. All of these people, it’s not just about admiring them, but it’s also inspiring and I am always asking, “what can I take away from this?” If I can be free enough to know that whatever comes out when I write, that is my voice… all the people I just mentioned… they… they… know what they’re doing and maybe that comes with practice and it’s not easy. And maybe I can just write and edit it later. And not also be like “but Colleen (former writing teacher) would think and Jackie (Torrens) would think.” It’s seeing people who make it look so easy, but you know that it’s because they put in the time.

AC: If you could interview anyone in the world who would it be?

MH: Are they allowed to be dead?

AC: Yeah.

MH: *cackles with laughter. Claps hand over her mouth*. Oh my God… I think maybe Tennessee Williams. He’s the first person who pops into my brain. But what would I ask him?     

AC: How does it feel to be dead?

MH: *laughs* And Tina Fey. I feel like if Tina Fey and I were together for a half hour, we would be such good friends! It’s hard to think about interviews because I always want to just be like, “how did you do it?” and I want them to write a step by step guide to their process. I want to have conversations with these people. … Tennessee Williams and Tina Fey. I think that says a lot right there.

AC: If 2010 was your dream year, what would it look like?

MH: Okay, pace yourself, Hubley. Deep breath. Well, I think somewhere, somewhere I want to get a really juicy workshop of Honey and Jupiter and I want it to be with Lesley and Sarah again and Kim Parkhill as the Authority. I want to stage it and get it out there. I don’t really care if it’s in Halifax or in Toronto… I just want to get it out there. And I would love to be in something again. I haven’t been in a play play since last May… May. I’m a poet too *grins*. I’m ready to be onstage again. I’d want to even get a small role in something and keep doing good work. Just practicing. And then I would play Lady MacBeth. *laughs* … Although I have heard an interesting theory that the MacBackers couple should be… according to this person… should be played by younger actors. In 2010, I really would like to get the ball rolling and get myself started up on my feet with workshops and play readings because it’s all in practice. I love my classes, and I strongly advocate everyone taking classes and doing workshops, but it is all in the doing. We learn to do by doing. I would love to be accepted into a Festival or a program with a Mentorship element to it and just go from there.

AC: Are you excited about writing reviews and doing interviews for the blog while I’m away?

MH: I’m so excited! I think it’ll be really exciting and inspiring to have these conversations with people. Sometimes I feel like I’m drowning in questions and so now I have the opportunity to ask people in the community for their thoughts and about their processes. And it’s going to make me go see things, which I’m really happy about. I mean, I go see things now, but you’re the master of that. And it’s also going to be a nice way to keep finding out about exciting things that are going on in Toronto. I can’t wait to find out what else is out there and to support it!

AC: Why should the readers of the blog not be scared about the fact that The Way I See It Toronto is going to be reviewed by someone new for awhile?

MH: Because, I think what people love about the blog is the support and thoughtfulness of it and how hungry you are to share what you get from the interviews and the shows you see. And even though we may not agree on everything, and we have different backgrounds, I think I have that genuine hunger to support and learn more and share more and connect more. And you shouldn’t be scared. I guarantee 350,000% that I am more scared of you--- and we need to do what scares us! And cool people read your blog! And I want to do it justice and it’s all about the community connecting and it’s all about being together and bringing separate communities together into the arts community!

I think this blog’s in good hands.    

 

What does it take to be a rock star? What happens when a rock star dies? What about the greatest lover of your life? Can she be replaced? Enter The River's Edge Hotel and get introduced to Sherman Oakes, a superstar who will only enter and leave on his terms. The answers will not be flung at you like Koosh balls from a slingshot, but you will certainly be encouraged to think, and draw parallels and impressions of your own.

  Zuppa Theatre Company, the pride of Halifax’s avant-garde theatre scene, is an ensemble based company that was founded in 1998 by Ben Stone and Sandy Gribbin and they are fresh off their critically acclaimed run of Poor Boy (directed by Alex McLean) in Neptune’s Studio Theatre and now the show is being remounted at the Glen Morris Studio Theatre in conjunction with the Graduate Centre of Drama at the University of Toronto. Zuppa shows are “rides through wild visions, genres, familiar stories and the unknown; the experiences, thoughts and inclinations of the lead artists determine the landscape.”

Poor Boy is more reliant on text and narrative than some of the company’s earlier work, but it feels as though it is the emotions of the story that are at the heart of the piece, and they are a launching pad for the play and the words that emerge from it. The dialogue reads like poetry, and although it doesn’t always make complete narrative sense, the actors believe in what they are saying so absolutely, that the audience believes in it as well, and as the characters and the actors make sense of the way they are expressing themselves, this sense is transmitted to the audience like magic.

This show is rooted in the brilliance of its performers. Sue Leblanc-Crawford as Miranda gives 400% of herself in every single moment, and creates this beautifully wild, naively open, frantically emotional character who you feel could do anything at any moment but always utterly devoid of malice. Kathryn McCormack is fantastic as Miranda's sister Eunice, a straight-forward, protective matriarch, and Ben Stone creates this amazing manager Desmond Landy, who is like every portrayal of the sleazy agent/manager character you’ve seen in a movie, yet slightly off kilter, as though he lives in a dream world. Stewart Legere is phenomenal as Sherman Oakes, a washed-up rock star, reminiscent of Jerry Lee Lewis late in his career, mourning the death of the love of his life, Ella Savant. Legere broke his leg before the run in Halifax, and so performs using crutches, which work so magically with his character, the broken leg seems like fate. His movements are incredible. He has such dexterity, there is this amazing moment where he moves the piano bench slowly toward the piano with his crutch, and the audience does not breathe, they are so mesmerized. When he begins to play the trumpet, after playing guitar, singing, playing the piano and acting his little heart out amid crutches, you have a moment where you wonder, “Is there anything this boy cannot do?”

The only thing I wasn’t sold on was Claire Gallant’s portrayal of the cracked-out crazy Ella Savant. Gallant seemed far too gentle and reserved for this part. I know she is more of a cello player (and a superb one) than an actor, but it seemed like the part demanded someone to rival Leblanc-Crawford and Legere, or else it doesn’t make sense why their characters are in love with her or how she became the rock star who metaphorically eats her groupies...

Zuppa Theatre Company shows defy definition. They can’t be explained without reducing them to mediocrity and you can’t try to pin them down, without killing the wonderful possibility that emerges from every moment. You can’t stick meaning to them like a band aid because nothing will stick. All I can say is that it is a treat to have Zuppa Theatre Company in Toronto, and they will only be here until Sunday afternoon, so you should all hurry up and call the Graduate Centre of Drama for tickets before Sherman Oakes leaves the building for good.

Poor Boy plays until Sunday March 22^nd at 2:00 at the Glen Morris Studio Theatre. 4 Glen Morris Street, Toronto. For tickets call 416 978-7986.