1. How did you get into theatre and direction?
I went to university because all my friends went to University. In my first year I took philosophy, art, music and drama. The drama class was taught by this super cool guy named Tony Hall and I was enraptured. I acted in my first play that fall, and it was over. I just loved hanging out with actors and the doing the show was so magical, because it was so obviously fake, but the actors made it seem like it was real. It felt important – it was an obscure George Bernard Shaw play – even though it wasn't a great play. And it was all happening in real time – it was so exciting.
I started directing out of necessity at first. I was in a sketch comedy group called Gut-Wrench and we would all write and co-direct. We never talked about it, it just happened. Then around the same time, a friend approached me and asked if I'd direct his one-man show. I did and I found I had a real knack for it. 18 years and 27 shows later, here I am.
2. What would you describe as the best moment or experience you’ve had as a director?
I love working with young actors, and by working on the play, pass on to them some of the knowledge that I've accumulated over the years. It's hard to translate that knowledge sometimes, but when it works, it's really rewarding to see a light go off in someone's head.
I also love working with really experienced actors, where all you have to do is shape the performance a little from the outside, but essentially give them the best possible spot on the stage to do what it is they need to do.
3. Do you remember the first play you saw or the first play that really stood out for you?
I think the first play I saw must have been Charlie's Aunt at my high school. Not very memorable except my best friend Anthony was in it.
I'll never forget the Arts Club's production of Danny and the Deep Blue Sea, with Jay Brazeau and Suzanne Ristic. Riveting, transcendent performances.
4. How was your experience directing Much Ado About Nothing?
It's been really fun – the design team is unreal and the cast is super game. But, Shakespeare is a monster and it is a herculean task bringing one of these shows to the stage. Some days I'd come home and think, “I'm the greatest director in the world” and others I would think, “I don't know how to direct – what am I doing?” But, I'm very happy with where we are right now and looking forward to sharing it with everyone.
5. How did you decide on the cast?
Two directors share the same cast so there is a lot of give and take. For instance, whoever I cast as my lead actors, the other director (Dean Paul Gibson) usually just accepts that casting, and vice versa. Dean and I have a very similar aesthetic about Shakespearean acting, so we generally like the same actors. Honestly, we saw so many talented actors, we could have cast this play twice over. That's how rich this community is.
Every year we keep pushing for more diversity in our cast. It's gratifying to sit in a student matinee, which is a very diverse audience, and have them see themselves on stage. It's important.
6. How important do you consider Bard on the Beach to be for nurturing a platform for theatre practitioners?
Very – it's some of the most challenging language an actor will ever speak. It requires a lot of technical skill to pull off. At the same time, you've got to be incredibly in the moment and connected to the emotional content of the play or the words won't fly.
For developing playwrights, Shakespeare's work is incredibly instructive – how he imbeds action in the lines, his over all play structure, his use of dramatic irony, etc. It's all there and no one has ever surpassed him.
7. What kind of experience will audiences have when they come to see Much Ado About Nothing?
Much Ado is a great play because it's a comedy that has meaning and depth. The main characters of Beatrice and Benedick become their better selves by falling in love, but also by rising to the occasion when things go horribly wrong around them. Then they reveal a depth of character beyond a typical comedy. So I hope the audience will have a rich and meaningful experience.
There is also an unexplainable magic to a play like this - and I think it's partly to do with it's perfect structure – it's so satisfying when all the story lines resolve, like a great piece of music. It feels like a symphonic celebration at the end of the play. They can also expect some moments of visual spectacle and some great songs!
8. What is the biggest threat to theatre today?
iPhones
9. Is there another classic you are considering adapting for the stage?
Macbeth – because it's a play that everyone thinks is simple, but somehow everyone always fucks up. It feels like there are scene's missing and some believe parts of it are not written by Shakespeare. It would be fun to look at all that and figure out a way to make it work.
10. What advice would you give to a student who is considering becoming a theatre director?
Richard Eyre, the great English director, said, “The only way to get good at directing is to direct.” Not bad advice. I was an actor first, so that helped in understand how it all generally worked, but you don't have to go that route. Apprenticing is a good idea – Bard has an apprentice program. Produce and direct a Fringe show. It's a cheap, low risk way to do theatre in Vancouver and if it turns out good then you've got some traction. It's always good that you have professional directors you can call in case you get in a bind. I've done it!
