By Tendisai Cromwell
As part of this year’s Summerworks Theatre Festival, Dancing to a White Boy Song is promising to be a unique theatrical experience.
Exploring the personal stories of three African immigrants, the title is a metaphor for an immigrant living in a Western culture. The narratives will unfold in a multidisciplinary fashion employing poetry, dance, and visual imagery.
In examining the overarching theme of ‘otherness’, the play will also explore family dynamics, intergenerational tensions, work, race, and address the notion of home.
The inspiration for the play lies in the immigrant experiences of Kenyan-born Director and Co-Creator Mumbi Tindyebwa Otu.
“It came from a very personal place, ”Otu revealed. “I immigrated here as a teenager with my family and I had a very rough transition.”
From the beginning, the play was a collaborative process involving sharing personal immigrant stories and experiences of otherness from everyone involved in the creation process. To actualize her aspirations, Otu collaborated with playwright and local poet, Motion and choreographer, Meryem Alaoui.
“She hears poetry as the voices of the characters,” Motion said of Otu’s vision. “It’s a play that brings out different voices, rhythms, cadences, stories.”
The trio has been working since this past May to reflect the complexities of human expression in the play.
“It’s an exploration of how we express ourselves as human beings. We express ourselves through movement, through sound, sometimes through visual imagery, ”Otu said.
The final production will be inclusive of many aspects of various immigrant narratives and though the play explores African immigration, it also deals with many universal sub-themes and a wide range of shared human emotions.
“When we become personal, we can see how universal our experiences can be,” Motion said. “Every single one of us has had moments of insecurity. All of us have had those generational gaps that take place within families, within communities.”
“It’s up to each person to, I hope, feel somehow connected or find something that is relevant to their life, ”Alaoui expressed.
They encourage everyone to watch the play and leave hopefully with a greater understanding of issues surrounding the immigrant identity.
For showtimes and to purchase tickets visit: www.dancingtoawhiteboysong.com
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By Patrick Dennis Jr.
“Sometimes the strongest family is the one you make,” reads the tag line of this inspirational musical by Cheryl Nembhard. My Brother’s Keeper may sound like an old biblical phrase, but this emotional and groundbreaking play is the story of hope and perseverance.
The story of a hero-like pastor named Calvin Thompson (Troy Crossfield) transforms into an emotional rollercoaster about the struggles and joys that we all endure. Set in modern day, this musical has it all: joy, laughter, anger, fear and hope. The story of hope appeared to be the underlying message of the production.
From the young characters growing up in foster care under an abusive parent, to the character of Ryder Thompson (George Franklin), the recovering drug addict, there are many people within the musical looking for hope. Many members of the audience felt as if the play was speaking directly to them.
“The characters are very relatable, they aren’t superficial,” explains Sereen Beckford. It wasn’t just the audience members who felt that way, the cast was drawn into the play as well.
Mandy Meisner, who plays the role of Joanna Thompson, overly happy and caring mother to the Thompson brothers and wife to Bruce Thompson (Paul Meisner –her off-screen husband), described the show. “We have so many different themes, broken marriage, sibling rivalry, abuse, neglect. We [as individuals] try to put our best face forward to the world, but we all go through these things. This is the chance to say, it’s okay to talk about it.” That very human element has made My Brother’s Keeper such a success.
With the play being based on Christian values and morals, Meisner went on to add that she would like the audience take away this message, “Hope. God is right there; he is within reach the whole time, you don’t have to go through it alone.”
Aijia Waithe
For former Wexford School for the Arts student and actor behind the character Destiny Brown, Aijia Waithe, My Brother’s Keeper isn’t just about hope; it is also about change and trying to be the change you want to see in the world.
“We want the audience to know that as one person you can make a difference” said Waithe. The young actress, who shined on stage, had to dig deep to play her role as the physically abused Destiny, but with hope she was able to overcome her fears and obstacles.
This heart-gripping musical not only caught the attention of the audience but also of fellow musical director and multi-award winner, Trey Anthony. Sway caught up with Anthony after the show who had this to say about her friend and supporter, Cheryl Nembhard, “I feel a tremendous amount of love for her, to see another peer in the game. I can only be happy for her, and we as women are coming together to support each other.”
Patrick with Trey Anthony
Anthony added that there needs to be more support among black women. “We don’t show that support; other communities have that support. We need to form that as black women.” When asked what words of advice she would give to Cheryl she said, ”She has it. She is doing her thing, being true to herself…one thing I would say is, be true to your voice and who you are.”
That is what Cheryl has done and she is seeing the results of her labour. Alongside her team, Exousia Media Group (EMG) they have created a heartfelt show that connects with everyone.
Due to overwhelming success, My Brother’s Keeper (scheduled to end on July 17) has been extended and will now have two more dates to amaze audiences. Audiences can enjoy the shows on July 22 and 23rd at The Music Hall Theatre (147 Danforth at Broadview Ave).
For further details and ticket information visit www.ticketwindow.ca or call the box office at 416-778-9318, 12 – 8pm.
Photos by Matthew Machanda
Patrick Dennis Jr. is a media studies student at University of Guelph-Humber and editorial intern for swaymag.ca.
Cast of AWAKE
By Anya Wassenberg
Expect Theatre’s AWAKE is a powerful production, words that were echoed by many in the large opening night audience at the Walmer Street Baptist Church. In its outlines, the story revolves around the infamous 2005 shooting death of Amon Beckles, who was brazenly gunned down when he stepped out of a church as he attended a funeral service for a friend near Finch and Albion. Along the way, it tells the stories of a wide cross section of the inhabitants of the Jamestown area, all of their lives affected by gun violence. It gives a voice to the human realities behind the troubling headlines of one of Canada’s most notorious neighbourhoods by using a script taken from hundreds of hours of interviews with its people. Those words are delivered verbatim, their truth adding a real poignancy and weight.
AWAKE begins and ends as a funeral service presided over by an eloquent pastor and live organ music. Sections of the service and the pastor’s speeches punctuate the narratives of the rest of the cast, who spill out their stories one after another. There’s the girl who began selling cocaine at 14, and witnessed her first murder at 15 when random racial violence erupted on the street right in front of her. There’s the kid who begins his morning by having to jump over a puddle of urine in the elevator. There’s the voice of Nadia, Amon’s mother, and that of another woman who lost a son to the neighbourhood’s pervasive cancer of gangs and guns, alongside those of the kids who see selling drugs as the only thriving business. The voices of the area’s cops round out the mix with a kind of us-and-them view that judges everything from the outside.
What emerges is a culture of fear and poverty-driven necessity; even so, the voices present a complex portrait of a place where there’s still hope under the tragedy. There are flashes of humour in the opening segments, and although that gives way to a darker atmosphere as the stories get more intense, the mood is alleviated by musical sections, including dance numbers and rap vocals by youth artist URV. The church itself is a gorgeous old structure that adds to the piece with a unique atmosphere, including a full sized organ, stained glass windows and flickering candles.
The very talented cast was uniformly strong in being able to convincingly bring the string of characters to life, many of them taking on more than one role. Beryl Bain as Nadia and Quancetia Hamilton as the other mother are especially riveting, and the actors are rounded out by dancers Raffaele Brereton and Tazz Blaze. Their commitment to the material is obvious.
The real Nadia Beckles was in the audience last night and took a round of applause herself for her courage in being able to tell such a heartrending story so candidly. I’m expecting this will be one of the most talked about shows at this year’s Toronto Fringe Festival.
Featuring: Beryl Bain (Shaw Festival, I Marcus Garvey), Lauren Brotman (Dora Award for Theatre Direct’s And By The Way Miss), Quancetia Hamilton (Da Kink In My Hair at Princess of Wales), Muoi Nene (Obsidian Theatre’s Ruined, Volcano’s The Africa Trilogy), Peyson Rock (Soulpepper’s King Lear, LKTYP’s Bunnicula) and Richard Stewart (Theatre Archipelago’s I Marcus Garvey) along with dancers Tazz Blaze and Raffaele Brereton and youth artist URV. Organist, Richard Wilson.
Created and Directed by Laura Mullin and Chris Tolley
Choral Direction by Andrew Craig
July 6, 2011 – continues to July 17
For more information on AWAKE and the Fringe Festival, visit expect.org/awake and www.fringetoronto.com.
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Dr. Elaine Brown Spencer
By Adebe DeRango-Adem
Dr. Elaine Brown Spencer’s courageous play, adapted from her recently published book, breaks the silence and tackles issues in the Black church community members have ignored for too long. Sway sits with the acclaimed writer and scholar Dr. Elaine Brown Spencer to get at the heart of the issue, and how she keeps the faith.
AD: Your play Private Pain In Public Pews is adapted from a book you recently wrote (Private Pain In Public Pews: Uncovering the Hidden Secrets of Life in the Pews, Westbow Press, 2010) and looks at the silenced pain that goes on in church communities. What was writing the book like, and then creating a play from that text? Did you find making the transition to playwriting natural?
ES: The process of writing this book was intense and exhilarating. It allowed me to give voice to the thousands in the pews who have experienced silent pain left unaddressed. During the four months of writing this book, the truth is, I had no idea that I would adapt it into a play as that wasn’t the purpose initially. However, half way into my writings, I was divinely inspired to adapt the book into theatrical form. It was somewhat of an easy transition as the framework for the storylines were already written in chapter 2 on “Real Talk,” which is the chapter the play is based upon. The actual transition from book writing to playwriting did feel natural but writing the scripts was definitely challenging at times in terms of eliminating some of the detail that is not necessary for the stage. Nevertheless, this process has been deeply rewarding and I am looking forward to writing part two.
Does the play mirror your own spiritual journey in any way?
Absolutely. I grew up in the Black Church and I have seen and experienced a lot. Some of the storylines depict portions of actual life events that I have encountered. The play connects the viewer with the spiritual realities of faith communities who experience and overcome many obstacles. This is why I am so passionate about the unique and cherished community of the Black Church because despite the “drama” there is a relentless vitality, power and hope for those who strive to and have overcome life’s obstacles.
It might be argued that in order for an idea to really be transformative, it can’t “preach to the converted” so to speak; it has to speak to those who are willing to be changed. What do you think of this?
Part of the issue today is not being real about our failure and struggles. This is not to suggest that we should not be aiming for success but rather that we should have a humble approach to life’s realities. If we tackle ideas that transcend superficiality and be real about struggles that can be remedied through our faith in God (as in the case of characters Samantha and Sarah in the play, for example), that is where change comes about.
You have an impressive academic background, with a PhD in Sociology & Equity Studies. Do you see a connection between equity studies and your pursuits in the creative arts?
Most definitely. My dissertation looked at the historical Black Churches in Canada from a sociological perspective. There has been little attention in academia to the role of the Canadian Black Church in the Black Community. I argue that the Black Church played a pivotal role during the Afro-Caribbean immigration years of the 1960’s, 1970’s and 1980’s. It served as a social welfare institution and safe haven for black people who experienced severe injustices and discrimination in Canada. The Black church provided an outlet and sense of belonging for a people who were dehumanized in broader society. Yet, the creativity and resilience fostered amongst its members has been the catalyst to its survival. The creative arts have always kept us going. The music, the vibrance, the preaching style and oratory skills within the church are all distinct cultural patterns that should not be ignored. My play Private Pain in Public Pews connects faith with equity as it creates a space for us to interpret the church from within, not negatively from those who are not members of this community.
Who would you say your primary audience is, as an author as well as playwright?
As an author and playwright, my primary audience are people who enjoy Black Theatre from a perspective of faith.
How do you see the state of Black Canadian theatre?
There seems to be a revival and upswing of theatre immersed in the Black experience but not enough that is faith based. I would love to see more of this as I believe there is a huge audience that would welcome Black Canadian Theatre that connects issues of faith.
What are you working on now, and where can we go to hear more about your work?
I am currently working on doing more shows and developing the sequel for my play, Private Pain in Public Pews – Part II. You can hear more about my work by visiting www.drelainespencer.com, Facebook, or by emailing me at [email protected].
Private Pain in Public Pews
Trey Anthony Studios & Manifesto presents
August 11 – 21, 2011
“LOOK.AT.ME”
ART SHOW.
“LOOK.AT.ME” is a multi-dimensional show that will be shown
inside the Enwave Theatre for the run of ‘da Kink in my Hair,
including the opening night. This off-stage production features
works from a wide range of artists that come together to
produce a powerful collaboration of stories.
Exploring through a variety of art mediums, each piece is to delve
into the survivals, the evolutions, the souls, the depths, the
inspirations, the love, the struggles, and the triumphs of
a Black Woman.
Be a part of ‘da Kink History!
CALL FOR SUBMISSIONS
• Painters • Illustrators • Photographers • mixed-media ARTISTS
• NEW MEDIA Artists • EMERGING & ESTABLISHED ARTISTS
All interested candidates should provide:
1.) Artist bio and full name/artist name
2.) 3-5 samples of the work you are interested in displaying
3.) Your email & phone number
submissions due: June. 06. 2011
PLEASE SEND YOUR SUBMISSION TO:
MANIFESTO wants the world to see what you got!
We are looking for artists of all kinds. Cross-disciplinary, Installation artists, Illustrators, Fashion designers, Painters, Film-Directors, Photographers, New media artist, Emerging and Established artists!
Apply today to exhibit in the 5th Annual Manifesto Festival of Community & Culture happening this September in Toronto. We look forward to meeting you.
THEMANIFESTO.CA/SUBMISSIONS/VISUAL
check out the Manifesto submissions:
themanifesto.ca/submissions1love
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By Adebe DeRango-Adem
AD: You are headlining the FrancOmen – Women Speaking Frankly event at the rock.paper.sistahz festival, an annual festival which concentrates on presenting performance work by black women artists and artists of colour. Can you tell us more about FrancOmen in your own words?
RS: This is an evening of Caribbean comedy and the oral traditions. My special guests are popular Tobago wordsters Naomi Abiola and Glenda Rose Layne live from the sister isle. Trinidad and Tobago has a diverse oral tradition in the form of mauvais langue (bad talking people) picong and fatigue (poking fun of people and situations) ole talk (talking nonsense), FrancOmen (plain talk, no pretense.) It is all of these that I embrace in my brand of comedy and what you would expect to hear at FrancOmen.
Frankly, you are a woman of many talents—an actor, director, storyteller, play creator and broadcast journalist. When did you first discover the world of performance? Can you tell us about your journey through these various roles?
My acting journey started when my dad first bought a television, a black and white Sylvania Potential. Wow! I even remember the brand name. Our national television Trinidad and Tobago Television (TTT) would televise live the annual Prime Minister’s Best Village Competition. This meant that all the regular programming such as Peyton Place, Iron Side, Dark Shadows, and the Partridge Family were all preempted. My sisters would be pissed and would go to bed but my mother (bless her heart) and I would stay up until past 11pm looking at the live coverage of the competition which was different villages vying for the trophy in a Musical theatre competition. There was drama, well in those days they called it a skit, folk singing and folk dances of our heritage. In addition to this there was a local soap opera called ‘Who the Cap fits’ on TV during my early teens and here again I am exposed to seeing my people on TV and it was here the seed for being an actor started to germinate. I wanted to be like the actors I saw on WTCF but I never said this aloud as being an actor is not a serious profession to my parents. It was seen as a hobby but you still have to hold a regular job.
As a storyteller, I was first exposed to the works of Paul Keens Douglas and his character called Tanti Merle and then later on I got to know of Ms Lou’s work when Paul Keens brought her to Trinidad for one of his concerts. By this time I am a budding actor in the Best Village competition performing with the group Barataria Community Council. I had a penchant for poetry and while I was not writing any, I was very adept at performing other people’s poem. My favoured poet of that day was local poet, Pearl Eintou Springer and then I got a book of poems by Jamaican dub poet Mikey Smith and was smitten by his work as well. Fast forward, and I am asked to join Paul Keens Douglas’ Talk Tent by Dennis ‘Sprangalang’ Hall, Trinidad’s leading comic. He saw something in me I suppose, and invited me to audition for Mr Douglas and for the next nine years I would be one of the pioneering women in the Paul Keens Douglas’ Talk Tent, a post carnival forum for comedy and the oral traditions in Trinidad and Tobago. Today I do my Frankly Speaking series which is becoming a cult classic among a wide cross section of a Caribbean audience in Toronto and the GTA.
I remember a director, Lester Efebo Wilkinson once told me, I have the eye. It took me a while to realize what he was saying to me. Some years later it, I recognized it to mean I had the eye of a director. However, my journey to being a director appeared one day when I felt I had what it takes to direct a play and it started with directing my alma mater at the annual Secondary Schools Drama Festival in 1986. So after six year as an actor I had the confidence to direct. The confidence I garnered was further inspiration to study the craft at the University of the West Indies Creative Arts centre in Trinidad in 1991. After that it was no stopping, but my biggest break came in 1996 when I went to audition for a part in a play called Shango- Tales of the Orishas. After my audition, I was called back by the director of the centre and offered the role of directing the play instead. I don’t know why he chose me to do this but the subsequent work I did on this play remains a standout production done at the centre and it was later invited to perform in Jamaican and Cuba to huge success as well.
bCurrent expands opportunities for black women artists to have their work nurtured and visions realized. How do you see the role of performance within the larger project of recognizing, preserving and promoting the contributions of peoples of African ancestry and their collective histories?
RS: It is an incubator for us to tell our stories of today, yesterday and tomorrow. As a people living in this space, we have to continuously be carving out a niche for ourselves. At the end of the day some of us are all born here but it is still not our ancestral home and as artists we owe it to ourselves and the generation to come to reflect our joys and sorrows, triumphs and tribulations in the here and now. It is through art and culture that we are kept informed. The cynics may say that it is through the internet and the news, but I beg to differ. It is the artist who gives us a true reflection of ourselves whether in dance, drama, visual art, poetry or sculpting.
Do you think we need more Black-specific arts programming?
RS: I say we need the arts. Whether it is black white or yellow, it should never be colour-coded. I embrace all arts programming, none shall be more than the other. Equal opportunity for all is what I would rather opine.
What are some Black-authored plays or performance texts that hold a special place in your heart?
RS: Jean and Dinah, Twilight Café, Ti Jean and His Brothers, Joker of Seville. I like Earl Warner’s Wine of Astonishment and The Dragon Can’t Dance, which were novels adapted for the stage. Here in North America, I love For Colored Girls, Harlem Duets and Adventures of a Black Girl in Search of God.
What author, playwright, or performer in history would you have loved to have a coffee (or tea) and chat with, and why?
RS: Derek Walcott. I would first ask him if he hates women, why all his plays are so full of men and little or no roles for women. That out of the way, I am in awe of his skill for heightened text and would ask him how I could write like that. Is it a gift or is it something that could be taught? Then I would ask him to talk to me about being Caribbean and how this history and heritage is informed in his writing. Having heard all that, I would then ask him if Trinidad was his muse in his early career as a playwright and poet.
What advice would you have to young playwrights and performance artists who want to get their voice heard, and are just starting out?
RS: Read and read a lot. Be aware of the environment that you live in, its culture, and its heritage, what is its swag today. You can only create from a real place; if you are not for the truth, then you are a charlatan. Experience all that life has to offer because it is those experiences you have to call upon to create art whether as a writer or a performer. Take the time to start, don’t force it, art and creativity are organic.
Where can we go to hear or find your work?
RS: For starters, come out to FrancOmen on May 13 at Wychwood Theatre- 601 Christie Street. Otherwise check YouTube- Frankly Speaking with Rhoma Spencer for video and audio of my work. Later in the summer, I would be at the Island Soul Festival from July 29- August 1 at Harbourfront doing Jouvay.
Rhoma Spencer is an actor, director, storyteller, play creator and broadcast journalist from Trinidad and Tobago domiciled in Toronto. She was the outgoing Resident Director and Administrative Manager for the AfriCan Theatre Ensemble and has performed on stages throughout the Caribbean and North America. In the summer of 2003 she was the Artistic Director of Caribana. Ms. Spencer holds an MFA in Theatre (Directing) from York University in Toronto.
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By Saada Branker
Sitting in a dimly-lit corner of a Toronto vegan restaurant are Oscar-nominated actor Woody Harrelson and playwright Frankie Hyman. The two men are ready to unwind after rehearsing Bullet for Adolf, a play directed by Harrelson who, together with Hyman, co-wrote the script. Expect to laugh and be roused by provocative discussions says Harrelson of the play, which opens on April 19 and runs until May 7 at Toronto’s Hart House Theatre.
What one should not expect are scenes featuring the Führer. “Yeah, this title is very misleading,” explains Harrelson. “It don’t have a damn thing to do with Adolf Hitler.” Chuckling, he admits that the play’s name is a “cheap trick to make sure people don’t forget the title.” But there is a loose connection. In the play is a gun, which carries a bullet intended for Hitler. The gun jammed and, years later, is stolen.
Bullet for Adolf is a comedy set in Houston in the summer of 1983. That’s the year Harrelson and Hyman worked together in construction and became friends. And though the storyline of the play is fantastic, real people, who made up the fabric of Harrelson’s and Hyman’s experiences that summer, inspired the characters. “I never expected to be friends with Woody or any other white person for that matter in 1983,” says Hyman, a Harlem, New York native now living in Los Angeles. “Woody was the first white friend I ever had.”
Harrelson claims a similar awakening. He was travelling through Houston, trying to make money for his move to New York. “I met Frankie Hyman and that really did change the course of my life. I feel he had an enormous philosophical impact on me,” says Harrelson, who lives with his family in Hawaii. “I didn’t really have any Black friends except the one guy I would play hoops with in high school. But it wasn’t the same thing.”
Their friendship is perhaps the reason Bullet for Adolf was so carefully crafted and developed by Harrelson. It is also Hyman’s debut as a playwright, and is produced in association with Marcello Cabezas of macIDeas, Derrick Chua and Corey Ross. “We very much wanted to cast actors who are hidden gems,” says Cabezas about the Toronto talent that sparkles in the play. “This was an interesting experience, as casting an eight-person ensemble is so much about the chemistry. We also wanted to cast actors who had strong improvisation skills as this is a new work and in some cases, scenes are inspired by actors’ insights and instincts.”
Cabezas is a recipient of the 2008 Arnold Edinborough Award. He’s also the cultural maverick who attracted steady praise for his performance in This Is Our Youth. He shares the adulation. Harrelson’s talent, says Cabezas, “lies in finding ‘happy accidents’ and allowing great ideas to come from anyone in the team. He is a true actor’s director.”
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By Isake Tom
Last Friday I had the pleasure of meeting the amazing cast and crew of Radiance; a drama directed and developed by ahdri zhina mandiela of the rAiz’n ensemble. Based on the original piece by Australian playwright Louis Nowra, from Oct 12-15th the all female cast and stage production team re-enacted the original play for a three day showing at the Wychwood Theatre. The captivating drama focused on the lives of three half sisters-each with their own sordid tales, reunited once again for their mother’s funeral. It is during this period, that they discovered deep and dark family secrets that would ultimately strengthen their relationships with each other.
Mandiela, the brains behind the rAiz’n ensemble is also the founder/artistic director of esteemed theatre company b current launched 20 years ago. Through its rAiz’n ensemble program, b current has propelled and mentored the careers of Trey Anthony of ’da Kink in my Hair as well as creator/performer d’bi young. According to their official website, the organization is one of Toronto’s premiere platforms that “support African and black identity and artforms in innovative ways.” Now operating out the new Artscape Wychwood Barns studio, avid theatre goers can expect more impressive works from this collective of talented and emerging artists.
“b current brings with it a sense of community. Many artists who were apart of b current in the past as students, have come back to facilitate or lend a hand in one way or another. Thanks to ahdri zhina mandiela (artistic director of b current) b current has established themselves as a nest for growing artists. We’re always growing, and ever changing. Also, as an artist I have a greater need to relate to what is out there. I know I’m not alone as an emerging actress of colour in Toronto, and what better way to do that, than to join a community that celebrates my story,” says Malube Uhindu Gingala, emerging actress and assistant producer for Radiance.
One thing that strikes audience members about this play is the sheer passion, chemistry and talent that exists between the small cast of three. Maxine Marcellin plays the eldest sister Cressy who has enjoyed a career as an opera singer overseas. Meghan Swaby plays Mae; the middle sister who takes care of their mother until her death and Amanda Nicholls portrays the young and energetic Nona; the wildest of all three sisters. The women are just three of eight women participating in the current rAiz’n cycle that has resulted in the production of Radiance.
While Nicholls’ character Nona, adds a touch of light humour to the production with her promiscuous ways, at the core of this play is a story that adresses serious issues such as sexual abuse, mental illness, and more importantly the dynamics of sisterhood. Sisterhood could certainly describe the relationship that rAiz’n ensemble members enjoy in the tight-knit community they’ve created amongst their eight female members. Eight women that represent a new wave of young and talented black actresses that will no doubt take the theatre industry by storm in the near future.
“I’m glad I was surrounded with women I knew from the birth of this production,” says Uhindu Gingala, “Also seeing the growth from the beginning of the module to the end of production is remarkable. I’m truly thankful that I was able to explore this play inside and out.”
For more information on b current, the rAiz’n ensemble and their upcoming showcases check out their official website.
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Dion Johnstone as Macduff.
Staying Power
By Pamella Bailey
Dion Johnstone’s introduction to Shakespeare came at an early age. They met on the pages of a Classics Illustrated comic book, found at a local flea market. With stories like Macbeth and Julius Caesar, the comic book inspired the young Johnstone.
Now in his sixth season at the Stratford Shakespeare Festival, North America’s largest classic repertory theatre, the 34-year-old Johnstone continues to pursue his passion for Shakespeare. He takes on the roles of Caliban in The Tempest and Valentine in The Two Gentlemen of Verona. “In the span of a season, I will often play characters with very different polarities,” says Johnstone, whose past roles include Macduff and Octavius Caesar.
“When I am playing Caliban — half man, half creature — I am being stretched, physically. While that is complex, Caliban’s language is very simple. So, trying to channel the simplicity of the language while my body is contorted in the shape of a man-lizard is quite a challenge. It’s very different from playing Valentine, a romantic lover.” As Caliban, Johnstone shares the stage with Christopher Plummer, a celebrated veteran of both film and stage.
Dion Johnstone as Oberon and Tom Rooney as Puck
It’s the opportunity to work with artists at the top of their craft that attracts Johnstone to the festival. “Acting is a craft you can’t learn in a book,” he says. “It’s one of those crafts you learn by osmosis, through repetition and being in the same space with other great actors. It raises your own bar.”
While Johnstone’s recent work has been onstage, he has landed several onscreen appearances in the past, including roles in The Guard, Sea Wolf (miniseries), Ice Twisters (TV movie), The Core, The Twilight Zone, and Stargate SG-1. Johnstone appreciates the honesty of the camera, but says the stage is his first love: “There is nothing like the electricity of having a live audience breathing with you onstage.”
Drama is not new to Johnstone, whose own life journey is one for the storybooks. Born in Montreal, his mother lost custody of Johnstone and his twin brothers when he was five years old. He was placed in a group home and his younger brothers were placed in a foster home. It would take another four years before the brothers were reunited in Edmonton and adopted together.
Dion Johstone as King Lear
Johnstone later found his birthmother when he left Edmonton to pursue acting in Vancouver. At the time, he was playing the role of Mark Antony in a production of Julius Caesar. After being interviewed by a local journalist about the play, his story was published in the newspaper.
By chance, a close friend of his mother recognized Johnstone’s childhood story and contacted her. The actor had his first glimpse of his birth mother when he made his onstage entrance as Mark Antony. “There weren’t a lot of Black people attending theatre, at that time, in Vancouver,” says Johnstone. “As I walked onto the stage, I could feel her presence. I thought, ‘Wow, this is cool.’”
Today, the actor continues to study his craft and is driven to develop a career with staying power. Johnstone credits his success to establishing a solid foundation as an actor with formal training. He received his Bachelor of Fine Arts in acting from the University of Alberta and studied at the Birmingham Conservatory for Classical Theatre. “You don’t want to be a flash in the pan,” says Johnstone. “A solid foundation in acting training is very important. I try to do everything to keep learning my craft. The technique is what takes you through.”
Dion Johnstone as MacDuff
The Tempest runs to Sept. 12. The Two Gentlemen of Verona runs from July 30 to Sept. 19. For more information, visit stratfordfestival.ca
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