Magnolia Tree

As I prepare to leave the blossoms are falling and the leaves will soon come. A productive time, made it through a draft of “Ordinary” and began making notes toward other things. Learned a bit about gardening. Elsewhere in the world “His Greatness” seems to be running well at the Finborough Theatre in London, “In On It” just opened in Edmonton and appears to be going well and “A Beautiful View” is still running in Brazil. Here in Halifax “I, Animal” is in its last week of rehearsal for the Supernova Festival. I saw a run on Monday and it is in very good shape, from my seat in the back. I will get to see in it August when it plays in Toronto as a part of Summerworks. It’s a simple play in that it is three monologues and a difficult play for the same reason. It’s hard to believe that a week from now I’ll be day three into rehearsals for “The Best Brothers” at Stratford. Such is city life.

Over The Avon River

My neighbour Greg arrived at my door yesterday telling me “put on some pants, we’re going to the quarry”. I was wearing shorts. One doesn’t go into the back country in shorts. We drove in his side by side – which is like a cross between a golf cart and an 18 wheeler – deep through the woods and up and down embankments in a way that clearly defied gravity. After about 40 minutes we arrived at an area above abandoned gypsum quarries that boasted a view that took in all of Hants County and if you looked hard enough you could see New Brunswick. Holding the odd dog in my lap the whole time I couldn’t help but feel occasionally like Alma Garrett from Deadwood in a fancy hat being chauffeured through the pioneer wilds. On the way back we took a series of “short cuts”,  down a steep path that had just been cleared – “maybe not for me” Greg said as we barely squeezed through thick brush – and across an abandoned rail bridge across the Avon River – as we approached the bridge Greg said “I don’t know if I should tell you now or later but the bridge is condemned” – I told him that later would be better. Greg’s the kind of guy who has been doing this his whole life and knows every back trail and possible passage in the area, I never felt nervous on the drive, though even sitting it did feel like a workout. Like riding a horse where a horse would never go. When he dropped me off back at home Greg said “Welcome to country living”. Once in the house the odd dog spoke for the first time. He shook himself out and looked up at me and with a slight southern accent said “That was bananas!”

Students Margo Kokay and Jack Bennet

Last week went into Halifax to see the Citadel High production of “How To Succeed In Business …” directed by my pal Mary Lou Martin. I don’t think I’d ever seen a high school musical before, certainly not on this scale with 90 students. It was great. Stirring. The kids all came off very well and even the non-dancers pulled it off. There’s something about seeing 90 people on stage all moving the same way – even if it’s just: turn left, turn right, lift your arms, drop your head – that is remarkable. This musical theatre thing just might have a future.

Still writing away. Hoping to have something firm by the end of the week.

We Are Here

Arrived in Avondale yesterday. Long time on the road. Today getting things in order then starting on writing the play I’m calling “For Now” for now. I don’t think that title is going to stick. It’s the third of the three plays for three women. I have a first act and the idea for a second but that’s it. And it looks like the first act is going to change dramatically. I must remember that “Communion” started out as a four actor multi-scene play called “The Communion of Saints” and ended up three actors and three scenes. The job now is to get out of the way and see what the play is/wants.

Today Buddies In Bad Times announced the new season and Brendan Healy will be directing the world premiere of “Arigato, Tokyo” with an amazing creative team. Very excited about that. Also “The Solder Dreams” is currently running in Baltimore and based on the review below it sounds like it’s going well.

http://baltimore.broadwayworld.com/article/BWW-Reviews-Iron-Crow-Theatres-THE-SOLDIER-DREAMS-Wages-War-on-Death-Through-Joy-and-Dancing-20120416#

Stephanie and Jenny

Arrived in Ottawa last night in time for the opening of “Communion”. The women had a great show and the audience was engaged and appreciative. Peter Hinton spoke beautifully at the reception after the show – and later reminded me that we were born on the same day, the same year. That’s gotta mean something somewhere. Everyone told me how well and respectfully they were treated by the National Arts Centre here. A very good thing. Tomorrow back on the road toward Avondale.

The Fort Garry

In and out of Winnipeg quickly. Shot a scene for a thriller being directed by Keith Samples – he directed me on “Republic of Doyle”. I play a psychiatrist – either very aggressively or very understandingly depending on which take they use. Flew in last night and back out tonight. The film world is always a whirlwind – even when waiting for a driver or lighting. Last night a lovely dinner with Bob Metcalfe, King of Prairie Theatre Exchange. Next, on to Ottawa and “Communion” at the NAC.

It is Spring

More reviews out today. One online that basically called the play “dull” – which was, basically, dull. And one in the Globe which was thoughtful but pretty much an outright pan. Although he did make a lovely comment about a particular line that rather broke my heart – in the good way. Overall he didn’t buy the conceit – which is valid, some won’t – and he says I shouldn’t have directed – as did the Sun which was the one complaint in a otherwise great review. I do look forward to another production with someone else directing but I do feel that I had to helm this one or I never would have got to the play of the play – I really had to be there to walk through every line. The good news is that the negative comments didn’t bother me as much as I thought they would – so perhaps I am evolving after all.

Met with Richie Wilcox yesterday to discuss the draft of “I, Animal”, my play of three monologues that he is directing for Eastern Front’s Super Nova in Halifax this Spring and at a festival (which I don’t think has been announced) in Ontario this summer. Kathryn’s company Kazan is co-producing and they will be rehearsing while I’m in Nova Scotia in April/May. I’m taking a back seat on this one though – I’ll be there for the first read through and for a couple of runs but I want to let this one off on its own. That was part of my idea in writing it – a simple and accessible piece of theatre that didn’t require my presence to make sense of it.

Backstage

My opening night gift to the women was fixing up the extra dressing room so they’d have a place to rest between shows on two show days. Ah, the glamour. The first of our three openings went well. Because we’re in the smaller space Tarragon has three openings, the first for press and subscribers, and the next two they call “Community Nights” so that the theatre community can get to see the show.  Tonight is the final Community Night. The first couple of reviews have come in and they’re good, that’s always a relief. No matter how long I’ve been doing this there’s always anxiety about how a show is talked about in the press. I get annoyed with myself about worrying about it but it’s a pretty human thing to be concerned about I guess, and as evolved as I hope that I am there’s only so far this human can expect to get. Audience response has been great and that’s really what matters at the end of the day.

Jess, Clare and Caroline (photo by Cylla Von Tiedemann)

One more preview tonight and we open tomorrow. The women are doing a wonderful job – and by women I mean everyone since the whole in-room team besides myself and my AD Matt MacKenzie are female. It’s certainly a challenging play – on many levels – but sitting with audiences each night I can feel their engagement and their questions and a movement toward understanding something about a life. It ain’t Bingo! that’s for sure. I’ve always been a little scared of this play and it’s hard to say why. The writing is poetic and the conflict on stage is one woman’s internal conflict. The voices in her head, the ghosts that visit her. It doesn’t play out like a traditional narrative, the story is never overtly told, to define it I guess it’s an experimental memory play. Whatever you call it it’s a play one is asked to watch with an open heart.

A Moment on Stage

A tech run last night. Brooks and Kate (my god-daughter) were our audience. They both had some excellent observations. We struggle a bit now with the weight of the space. Having come from a white room with open windows and sunlight, and now adjusting to the black room with reflective surfaces and no movement in the air. But I think we have discovered how to bring the white room into the black room – a sense of buoyancy. Also, the fact that we are telling two stories at the same time – the story of the character Kathleen, and the story of the re-integration of the three elements of that character Kit, Kath and Kitty – is never overtly stated – and that is part of the journey of discovery but it’s not like it’s a “reveal” – it’s not a mystery to be solved, but as I said, a fact. The audience will come to understand that fact at different times. Some will figure it out in the first ten minutes others might take until the end of the play, but the important thing is that it shouldn’t matter. I don’t want to be coy about hiding something, as if the play tilts on the fulcrum of that information. How to say something without overstating – how to trust the audience’s sophistication yet not be obtuse. This is the journey of the previews.