Up next on our mainstage is An Inspector Calls, by English dramatist J.B. Priestley. Written in the winter of 1944-45 (near the end
of World War II), this drawing-room thriller is picturesquely set in an
upper-middle-class home just before the advent of World War I. Taking place on
a single night in 1912, the Birling family is visited by a an Inspector who
subjects the family to a relentless series of questions regarding the death of Eva Smith: a young working class woman.
Priestley began writing plays in the early 30’s after a successful career as a
novelist and essayist: his book The Good
Companions (1920) became a bestseller and largely freed him financially.Writing for the stage offered
the opportunity to experiment – particularly with the dramatic possibilities of
time.Priestley explored a mystical
dimension in his work that led the psychologist Carl Jung to praise his
“superhuman faculty of looking at things with a straight and an inverted eye.”
An Inspector Calls received its West End debut in August 1946, but initially opened in Russia in the autumn of 1945. As there were no theatres
available in London at the time, Priestley responded to the invitation for an
extraordinary seven week tour immediately after the war ended.
Long considered
one of the classics of 20th century theatre, An Inspector Calls has been hailed as a scathing critique of
Victorian / Edwardian society and an expression of Priestley’s political values. Packaged in a comforting period remoteness, and presented in the manner of an Agatha Christie mystery,
the play evolves into a confrontation between capitalism and socialism,
embodying principles not typically found in a detective genre. Though every
member of the family denies connection with the victim, as the evening wears
on, the contrary becomes quickly apparent, and the implications call everyone's conscience into question.
After a
remarkably productive lifetime, spanning most of the 20th century,
J.B. Priestley died on August 14, 1984. His plays are performed all over the
world, spurred on by Stephen Daldrey’s triumphant and imaginative 1992 production of
An Inspector Calls, called “Theatrical
Perfection” and the “winner of more awards than any other production in history.”
(The Daily Telegraph)
So, come and join the
inquisition, to see if you can catch the culprit. Directed by Karl Sine, Rosebud Theatre’s An Inspector Calls plays Sept 9 – October 29 and stars Nathan
Schmidt, Troy O’Donnell, Glenda Warkentin, Andrew Cooper, Meghan Hanet, Junstin
Lanouette, and Cassie Garbutt. For tickets and information, visit
rosebudtheatre.com
Paul Zacharias is a producer, singer, songwriter, engineer and the Sound Designer and Composer for this summer's 'The Sunset Limited', now playing on our BMO Studio Stage. A Rosebud regular behind-the-scenes, selected credits include 'The Last Train to Nibroc', 'The Wizard of Oz', 'Freud's Last Session', 'Jake & the Kid', and 'May & Joe'. Other designs include 'We are the Body' (Burnt Thicket Theatre) and 'Winter's Tale' (Shakespeare Company / MRU). He is one half of the folk duo 'Me & the Mrs.', currently on a Western Canada tour, and the head of doG House Studios.
For ‘The Sunset Limited’,
you’re Sound Designer AND Composer? What’s the distinction?
A Composer
creates original pieces of music and (in my case) performs and records them to be
presented with the production. A Sound Designer puts together sound effects
and music to help tell the story. As a composer I did everything from writing
music, lyrics, singing, playing guitar, drums, bass and of course
engineering and mixing the recording. On the design side I recorded sound
effects such as neighbors quarreling in the hall, doors being slammed, and
manipulating trains sounds to fit our production (to name a few). A
special thanks to my dear friend Jason Bertsch who came into the studio to
record many of the lead guitar parts for the show. He’s fabulous!
When you’re given a project
like this, where do you begin?
I lay down on the
couch and read the script, making notes as I go, about my first impressions of
the piece. Often it’s very obvious what genre I will be approaching the show
from… in this case, Blue Collar Blues just jumped off the page at me!
"Broke My Heart Over You" - 'The Sunset Limited', Paul Zacharias
Is there a best part to your
process? Hardest part?
The best part of
the process on this show was the tiny window between writing and recording. I
wrote all of the songs in the studio. Often I’ll have to wrestle a song to the
ground to get it right… on this show they mostly happened quite naturally and
easily. As soon as the last word was written and in place I’d set up all the microphones
and gear to start tracking. Having the songs fully realized before I even knew
what I had written was a thrill. Having Jason come in and add his guitar magic
was a very special experience. He’s an amazing blues player and I loved
collaborating with him.
Coming in each
day and seeing the way that Nathan and Carl poured themselves into the work,
into their characters and the story they are telling was amazing. I have SO
MUCH admiration and respect for both of them. They make the story so true, so
heartbreakingly human and emotionally three dimensional!
The hardest part:
wanting more time with the show before letting go. Putting it down and being
done.
What resonates with you
about the world of ‘The Sunset Limited’?
The way that
these two men who are so very different are able to share moments of communion
just grabs me every time I see the show. The importance of loving your brother
and making the criteria of who is your brother broader.
"Brother, Father" - 'The Sunset Limited', Paul Zacharias
As a singer/songwriter, how’s the
process different than creating for a show?
It’s different in
a number of ways but perhaps most significantly when writing for the band the
only creative parameters I have are self imposed. I don’t have to align what
I’m writing with anything or anyone else… I can if I want… but I don’t have to:
the SONG is the show. When writing for the theatre, the song is a small cog in
a big machine. I see it as very much a supporting role. It involves tuning in
to what everyone else is doing: the director, other designers, the
script-writing, the actors and trying to get caught up in that same wave that
everyone else is riding.
Read anything fantastic this
summer? (or binge watch any Netflix)? Yes! Frederick
Buechner’s The Hungering Dark is a
beautiful book full of good things for the soul. Stranger Things on Netflix was good fun. And, Stuart McLean’s Vinyl Café Podcast Episode: Dave Buys a
Casket.
What are you listening to
right now that’s inspiring you?
Into The Mystic
by Van Morrison. Man, that song has EVERYTHING!
Coffee or Tea, and how do
you take it?
Earl Grey, little
bit of sugar, little bit of milk, little bit of love.
'Sunset
Limited' is set in a gritty New York tenement. Do you think sound has stereotypes, or
does any style of music have the potential to be universal?
Yeah, I think
sound has stereotypes and often for good reasons… but I think things can always
be flipped on their head, truth transcends.
"Black & White" - 'The Sunset Limited', Paul Zacharias
Lastly, you do it all! What's next for you? Any shows coming down the pipe? Projects we can look forward to?
Me & the Mrs. Are about halfway through our BC, SK, AB tour and
now getting to spend some time playing around our home province(AB). We’re
really looking forward to a very special concert we’ll be doing in Rosebud
September 3rd with our good friends The Dearhearts and The Fig
and the Flame. I’ve [also] been working
with my dear friend, film maker Michael Janke as a sound engineer on his Web
Series, Youth in Decline. (Watch it!) The work involves live off the floor recording
sessions with the fabulous Calgary band, Young Neighbours. I’ll [also!] be sound
designing/composing for Rosebud Theatre’s Miracle on 34th Street
this Christmas. The script is lovely and I can’t wait to see what director Paul
Muir will do with it. I’m going to be writing SO much music for the show and
can’t wait to jump into the wonder of Christmas with our team!
Also, I haven’t
played a lick of tennis all summer long… that’s gonna change soon!
You’ve got one weekend left to catch the intensely
thought provoking 'The Sunset Limited', playing on our BMO Studio Stage until
Saturday, August 27th. For tickets and information visit rosebudtheatre.com
And for more information on 'Me & The Mrs.' and their upcoming concerts,
click here. Better yet, listen to one of their latest songs!
Theatre at its best isn’t a one-way presentation: it’s a meeting
place for artists and audiences to experience the places they easily come
together and discover distances they still seem miles apart.
Declan O'Reilly as George in Tent Meeting. Photo by Morris Ertman.
On our stage right now is Tent Meeting, a
play that celebrates how music can release the Spirit while simultaneously
offering characters antagonistic to a church’s well meaning, but often
off-putting invitations to relationship. On the surface, it’s a church oriented play. After all, it’s called Tent Meeting. We’ve had a wide range of
responses, through, which means it isn’t so easily categorized. It's an opportunity for discussion. So as a starting place, we’d like to share where
we’re coming from, particularly with this piece.
Jesus is very dear to us, and we present what we present out of love for Him
and for our audience. I’ve been a Christian since I was 6 years old, brought up
in the faith in a rural Alberta Baptist church. Tent Meeting is a tribute to the saints of that church, and to the
power of community to heal relationally.
It was also in that church that I saw my very first play. It was a
play about a missionary in Russia, who was martyred because of his faith. In
the play, there was a moment where soldiers took the missionary off stage and a
gun-shot was fired. I don’t know how they did it, but it was jarring and scary
and “real” to my young ears. They then dragged the man on stage, blood pouring
from a wound in his chest - dead. The altar of our church was the place where
arguably the worst possible sin - murder - was depicted in all its gore and
cruelty. I’ll never forget that moment. And, I’ll never forget the power of a
story portrayed by amateur-acting, Bible-believing farmers that dared to
illustrate the horrific along with the good.
One could ask why such a grotesque portrayal? Not only the sin,
but the detailed depiction on the altar of the church. Was it necessary? How can such a thing be justified?
I’ve spent the better part of my life wrestling with how to express
the grace of Christ in the theatre. I’ve looked through
scriptures to find a model for using it as a divine expression. The Bible
says nothing about theatre. It says much about music, but nothing about the
theatre. There are, however, many instances of people using theatricality to
communicate.
The Lord told the Prophet Isaiah to strip naked to illustrate to Israel that
putting their trust in the might of Egypt would lead to unspeakable shame. God
asked His prophet to embody the unspeakable so people would understand the gravity of the situation. I’d surmise that many who saw Isaiah would have found his
illustration distasteful - even sinful. They would have herded their children
down another street to protect them from such a vile sight. But Isaiah did what
the Lord commanded so people could not ignore the message he was called to
deliver.
The writer of the Psalms did not edit out David’s sexual relations
with Bathsheba and consequent assassination of her husband. The Bible does not
soften the slaughter of innocents or the destruction of entire cities like
Jericho, saving only a prostitute most likely looking out for her best
interests. The Bible, as arguably one of the most important story-telling book ever written,
shares stories of the desperately sinful, often with grotesque accuracy, so we
can see the work of God and the sometimes repentant, sometimes not, response of
humanity.
In Tent Meeting, George is
so angry at God and at the church that he uses God’s name in vain. Why? Because
he is deeply angry and held captive by wounds of betrayal. If we dare to
express the miraculous love of God, we must also dare to honestly illustrate
the darkness of people who are embittered towards Him. In the crucifixion, Jesus
was senselessly beaten, stripped naked, and executed. Modern depictions insist
on covering Jesus with a loin cloth. But God wasn’t concerned with modesty in
that moment. Nor are our quaint depictions of Mary holding baby Jesus a true
representation of that bloody exhausting exuberant birth. Could it be that the
profane is the human part of the stories we know to be sacred? Are the depths
of grace illuminated by the horrifying nature of humanity?
When we smell something wretched, we instinctively turn our face away. It’s our
instinctive defense to distance ourselves from that which offends. When faced with people and actions we find distasteful, isn’t
it easier to turn away than ask ourselves if we are culpable and capable of the
same crimes?
The mandate that governs our choice of plays is as follows: "to
produce professional live theatre that illustrates the beauty and complexity of
life through an inclusive and grace-filled perspective...” Every show we do is
accompanied by both accolades and criticisms depending on the perspective of a
given patron. But who draws the lines? When it comes to content and
convictions, how do we know what will provoke, what will inspire, or push
someone away? When we stick to pleasant stories easily categorized we wander
away from the example Scripture itself provides. As Artistic Director of this
company, I promise you we enter into all our presentations with prayer,
extensive discussion, and the hope that God multiplies our offerings in works
of His grace.
I’d love the chance to dialogue further about this, if anyone so
desires. There’s a place below to leave comments and continue the discussion.
As long as there’s respect and care for each other, there’s room at the table
for all perspectives.
And Blessings and gratitude for all the audiences engaged ... let’s keep
telling all our stories.
‘Tent Meeting’ is Blair Young's first show in Rosebud, and
he “couldn’t be happier!” Recent theatre credits include: ‘The Selkie Wife’
(Wayward Artists), ‘Of Mice and Men’ (Spirit Fire Theatre) and ‘War of the
Worlds’ (Workshop Theatre). Television credits include ‘Fargo’, ‘Bluff!’, and
the wonderfully named Otis Spong in ‘Hell on Wheels’. You can also hear Blair
in the occasional radio commercial or see him acting sick for U of C Medical
students as a standardized patient. He’s also president of ACTRA Alberta (the
Alliance of Canadian Cinema, Television, and Radio Artists) representing 22,000
professional performers across Canada, with over 740 of them living right here
in Alberta.
Blair Young, Declan O'Reilly, & Jonathan Bruce in Tent Meeting. Photo by Morris Ertman.
Where do you call home?
I was born in
Montreal, moved to Toronto while still in diapers, and then my wife’s job
brought us to Calgary 11 years ago, so I’m definitely a big city boy! This
summer I’ve been living in Rosebud from Wednesday through Sunday, then back
home to my girls for the early part of the week. Loving the peaceful, scenic
surroundings of Rosebud!
What’s your must-have
morning ritual?
I have been
resistant to coffee drinking for years. But then I was working on the TV show, Fargo, in the coldest Calgary winter in
decades and had brews of a tiny amount of coffee, then the rest of the cup was
hot chocolate. But I don’t really like hot drinks. So now every morning starts
with a travel mug consisting of a third of cold coffee mixed with chocolate
milk. My wife likes it because coffee is never wasted in our house. Any extras
go in the fridge for me!
Done any good summer reading?
Netflix series?
I have discovered a fantastic American writer named Jonathan Evison. Check out The Revised Fundamentals of Caregiving
(it has become a great little film with Paul Rudd) and This is Your Life Harriet Chance. A sobering novel about aging and
what’s really important in life. As for Netflix… Stranger Things. That’s all need be said.
What do you listen to
driving from Calgary to Rosebud?
I have been
taking out CD’s from the library to check out either music I missed, or other
albums from bands I already know. Rediscovering Alan Parsons Project (honestly,
every album by them is fantastic) and unearthing the immensely talent classical
music boy band 2Cellos. They do rock hits on electric cello, as well as several
amazing feats of dexterity of their own creation. In2ition is a great album. Really cool!
In
‘Tent Meeting’, you play Pastor Ernest Douglas, a man with an earnest heart
who’s also the focus of some good-natured teasing. Does he feel a bit like the
youngest brother? What’s his secret to being so good-natured?
I wouldn’t say
little brother, but he’s definitely the outsider. He’s trying so hard to be the
ecumenical go-to guy for everyone, and his experience is, the more flowery the
language, the better. I’m not sure he’s so good-natured either! He’s just
trying to be accepted and liked, so he’s hesitant to make any waves and goes
along with whatever the boys say. When he finally does something right... the worm starts to turn, and then he finally accepts that
speaking from the heart and not the head is the right way to go.
Are there any roles (for TV
or the stage) you’d love to take a crack at?
I would love to
do a musical called City of Angels, and pretty much anything with a Sondheim
score! [For television] along the West Wing/Scrubs/How I Met Your Mother vein. Fast paced, highly sarcastic, and hopefully intelligent scripts. (I’m a sucker for a fast-paced dramedy.) Any writers reading this?
What’s the difference
between the television and theatre audition room?
Theatre auditions
are more grueling, but more friendly and forgiving. In the television audition,
it often feels as though your appearance is the most important factor. You get
used to that, and just wait for the role they can’t imagine anyone else doing.
Any pre-show / post-show
rituals?
The only pre-show
ritual (which I brought to Tent Meeting
where it was very enthusiastically received and is now done before every
performance) is a pinkie-swear kind of thing, accompanied by “Good show.” I
know. We actors are wacky.
What’s the best advice
you’ve been given?
It’s one I try to
think of every time I’m about to go on stage. "Have fun!"
Lastly, you’ve spent the
summer harmonizing with a crew of talented musicians and singers. What’s been the
best part?
Singing great
songs to an incredibly receptive audience that has given us a standing-O almost
every show. Exhilarating!
You’ve got two more weeks to catch the delightful
Blair Young as Pastor Ernest Douglas in the soul satisfying ‘Tent Meeting’, playing at
Rosebud Theatre until Sunday, August 28th. For tickets and more information,
visit rosebudtheatre.com
Declan makes his
Rosebud Theatre debut in this summer’s ‘Tent Meeting’. He was recently seen on the
Theatre Calgary stage in ‘A Christmas Carol’, ‘King Lear’, ‘One Man, Two
Guvnors’ and ‘Much Ado About Nothing’. Other credits include ‘Shakespeare’s
Rebel’ and ‘King Lear’ (Bard on the Beach - Vancouver), ‘Circle Mirror
Transformation’ (Sage/Shadow Theatre Co-Production), ‘The Secret Garden’ (Theatre
New Brunswick), and ‘Emily… a Musical’ and ‘Anne of Green Gables’
(Charlottetown Festival). He’s also appeared at YPT, Persephone Theatre,
Phoenix Theatre, Lunchbox Theatre & Leave It to Jane Theatre. Declan is a
graduate of the University of Alberta BFA Acting program and a founding member
of Edmonton’s Free Will Players Shakespeare company.
Declan O'Reilly and Seana-Lee Wood in Tent Meeting. Photo by Morris Ertman.
Where do you call home?
Home is currently Calgary. I guess it always will be the place I
feel closest too as my family is there but I’ve made my home all over the
place. Born in Northern Ireland, raised in Malawi (central Africa), and came to Canada in the late 1970's. I also lived in Edmonton for 8 years and Toronto for 17 years before returning to
Calgary in 2012.
What’s your must-have morning ritual?
Coffee and a shower but not always in that order. I also usually
check out the BBC World News as I find their coverage of news events second to
none.
What song always puts a smile on your
face?
Happy Birthday!
What’s currently inspiring you?
I get my inspiration from all over the place. People, nature, great
art and good books, and the love of my family. I’m currently inspired by the
beauty of Rosebud and the wonderful people there I get to work with and see
everyday. It’s a glorious place and I know it will remain very close to my
heart for many years to come.
You’ve been a regular in the professional Calgary
theatre scene, as well as a founder of Free Will Shakespeare in
Edmonton. Any roles still on your bucket list?
There are many roles I wish I had had the opportunity to play but
many of them are beyond me now due to that thing called age. I always have been
more of a character actor than a leading man and there is a certain freedom in
that. As I start into my 50’s there are still a few roles that I’d love to
play: Willy Loman in Death of a Salesman,
Sir Toby Belch in Twelfth Night, and
Falstaff in The Merry Wives of Windsor.
I would also love the chance to revisit the role of Malvolio in Twelfth Night as I think I was too young
when I played him the first time.
Do you have a go-to Shakespeare monologue?
Well, yes, but I try to keep looking for new stuff to keep me
inspired and fresh. The one I have used many times is Antipholus of Ephesus “My
liege, I am advised what I say!That
woman locked me out this day from dinner…” (Comedy of Errors, Act V, Scene 1)
In ‘Tent Meeting’, you’re playing George… a man
with deep questions that the church has yet to answer. What in the
character do you identify with most?
Honestly? Everything. I’m more like George than not.
Have you had a favorite on-stage moment this
summer?
I’m always privileged to be in a position to do what I do. I love
every opportunity to be on stage and I never take it for granted, so every
performance is a special on-stage moment. That being said, I did love getting a
chance to share the stage with Morris Ertman and Bill Hamm recently when one of
our cast members (the exquisite Jonathan Bruce) went down with an illness and
needed to be replaced for a few shows. Morris and Bill stepped in to cover
those shows and it was an amazing experience to see those two men bring their
talent and commitment to the stage. The first night they stepped in was a
pretty wonderful feeling. I’ll remember that for years to come.
Best acting advice you’ve been given?
Early in my studies I was a student of Keith Johnstone (the Godfather
of Improvisational Theatre). His advice was, and I believe it to be the best
advice to give to any actor starting out… “If you can do anything else in life
then do that instead.” Acting is a tough career and you need to NEED to do it.
Lastly,
‘Tent Meeting’ is full of lovely four part harmonies: music steeped in
traditions from a time that seems to have passed. What can modern audiences
relate to in these melodies?
Well, the great thing about music is that it transcends time and
place. Coming into this show I was really not very familiar with gospel or
quartet singing. I like my music a bit more modern and loud but I came to
appreciate these songs and the work that goes into weaving such intricate
harmonies. The music in this show really serves the story, the period in
history and the hopefulness of the characters. It’s beautiful stuff and I
challenge anyone who watches this play to not be moved by the music.
There’s three weeks
left to catch the profound performance of Declan O’Reilly as George in 'Tent
Meeting', playing on the Rosebud Theatre mainstage until August 27th.
For tickets and further information, visit www.rosebudtheatre.com
