The December Man
When
and why did you first become interested in theatre?
I
fell in love with theatre as a kid when my parents took me to NYC and we saw
see Raisin in The Sun by Lorraine Hansberry in Central Park. I took
theatre at Dal and then my master’s at U of T. At that point I wanted to be an
actor, I had some good roles with theatres like Passe Muraille and the Shaw
Festival but after a few years I became more interested in writing and
directing. I became more aware of the gender and racial disparities in theatre.
I co-founded Nightwood theatre with a group of friends. This was the first
professional theatre in English Canada to promote work by women.
Are they the same reasons that you continue to be involved today?
Theatre
can be a profoundly moving experience. It can take us to places we wouldn’t
otherwise go and deepen us as human beings. I have always been attracted to
plays that do this.
What are the challenges of the vocation?
Well,
there are almost no full-time jobs, no security. It is a freelance life and can
be extremely uncertain.
What are the rewards?
The satisfaction of any artist, bringing something original to life and sharing it with others.
Is
your creative process more ‘inspirational' or 'perspirational'?
Both.
A rehearsal period is hours and hours of hard work with minutes of inspiration
pure joy and thrown in.
How and why did you get involved with The December Man?
I
have admired Colleen Murphy’s work for many years. She is one of the bravest
artists I know. A two-time Governor General’s Award winner, she explores the
human condition without shying away from the dark side of the human condition.
But she does this is a way that shows the possibility of light. Her most recent
play The Breathing Hole which was on at Stratford a few years ago
explored the Franklin expedition and subsequent devastating effects on the
North. The main character is a bear. When the bear dies in an oil slick at the
end the audience was holding its collective breath. We loved the bear. It was
one of the most moving experiences I have ever had in theatre. The December Man
packs a similar punch.
What can audiences expect to experience?
"One cannot always be a hero, but one can always be a human" Johann Wolfgang von Goethe. I was drawn to The December Man because its compassion for the human condition in the face of unimaginable tragedy and because of the brilliance of its structure working in reverse order from the consequences to the inciting incident. Kathleen and Benoit are a working-class couple who love their son and do every thing to help him. Murphy captures the fabric of everyday life, its moments of humour, courage and compassion. This searing drama explores the long private shadow that public violence casts. I think it has much to offer in today's fractured world.
What are your thoughts on the current state of theatre in Canada?
COVID-19
has had a devastating effect on the theatre and performing arts. Already a very
precarious existence, we were the first to close and the last to open. Many
have left the profession. At the same time, it allowed us to rethink so
many our priorities and hopefully return stronger and more inclusive.
How can that be improved?
Stable
secure funding is the key at all three levels of government. Governments tend
to fund their most recent priorities rather than make long term commitments.
This makes for instability and inhibits growth.
What’s next on your creative agenda?
I
have a new grandchild. I think I’ll take a little break for the few months. But
Homefirst has another play in development for 2023.
The December Man
November 25 to December 5, 2021
The Bus Stop Theatre, Halifax
