dylan macdonald as jerry
Dylan is an actor and improv artist trained by The Second City (Toronto). His most recent theatre credits include True West (Lee) and Equus (The Young Horseman) with Post Productions. Recent film and TV credits include Chase in Seek (Splice Productions), Ray Chapman in Curious and Unusual Deaths (Discovery Channel), Blane in Nara (Splice Productions), and Gerry in Leaving Town (Mimetic Productions). His favourite theatrical credits include Vince in Tape, Bassanio in Merchant of Venice, Bobby in American Buffalo, Lucentio in Taming of the Shrew and Spike in Vanya and Sonia and Masha and Spike. In addition to acting with various companies, and performing sketch comedy and improv as the founder of Windsor Improv Theatre, Dylan teaches improv workshops and courses at The Shadowbox Theatre, among other venues.
fay lynn as emma
Creative Director at Post Productions and co-owner of The Shadowbox Theatre, Fay is never far from a stage. Her last theatrical endeavour was as director for Edele Winnie's Pry It From My Cold Dead Hands. As an actor, she was recently seen on the Shadowbox stage as Detective Ariel in The Pillowman, and Ines Serrano in No Exit. Prior to that, she had the tremendous honour of portraying the title character in Korda Artistic Productions' Macbeth at the Kordazone Theatre. Her next role with be as director for Matthew St. Amand's latest play, Negatunity, this upcoming June. Her next onstage role will be in John Clancy's Fatboy, presented by Post Productions in October 2020.
michael potter as robert
Michael is Managing Director of Post Productions and co-owner of The Shadowbox Theatre, where he also produces and directs plays (Equus, The Pillowman, Stop Kiss, True West). He still finds time to act occasionally – most recently as Cradeau in No Exit, Willie in Another Fucking Christmas Play: A Fucking Musical, Reinhart in Shelter in Place, Wesley in The Worst Thing I Ever Did, John in Oleanna, and The Enforcer in season 3 of Space/SyFy's Killjoys. Before co-founding Post Productions, he performed locally with Korda Artistic Productions, Cardinal Music Productions, and Windsor Light Musical Theatre. His next projects: starring in Matthew St. Amand’s Negatunity (June 2020) and directing John Clancy’s Fatboy (October 2020).
an interview with edele winnie - author of 'pry it from my cold dead hands' and winner of the 2019 windsor-essex playwriting contest
Edele Winnie is many things: enigmatic, visionary, hilarious, and utterly unique. Recently she agreed to an interview with Post Productions Managing Director Michael K. Potter and, well, here are the results . . .
POTTER: How would you summarize Pry It From My Cold Dead Hands? What's it about, what happens, and what makes it unique or interesting?
WINNIE: Pry It From My Cold Dead Hands is a wild ride through someone else’s mind. Giselle is a sweetheart, but she’s trapped in a glass cupboard of her own making. Everything has its place. Things are neatly put away. She’s even divided herself into different versions – her work persona, her subway persona, her home persona. All to protect her and help her to survive and succeed in this unfriendly world of ours. Then something happens – something funny and horrible – and all the glass shatters and Giselle must find out who she is all over again. It's a frog in a frying pan story. How much do you know about frogs? If you put one (I would never do this, I read about it) in a frying pan the frog adapts. They can hop, right, frying pan's have low sides and frogs can really jump. They could just hop out but they don't. When you turn the heat on, the frog keeps trying to adapt- altering its body temperature and respiration, because that's how it deals with things. It could hop out at any time. And then it gets too hot and the frog dies. Just like Giselle, like most of us. She would never jump out of the frying pan of her life. And then something happens that forces her to. It’s unique and interesting because, although everyone is different, no one is quite as weird as Giselle. (I don’t actually mean that of course. Giselle isn’t weird, she’s herself. I’m like Giselle in many ways. I’d prefer being called unusual to weird. Evolution makes lots of different versions of people for different reasons, or perhaps by just random shit luck. We glimpse one another on the street, passing by. You don’t know what’s in my head, my heart, my soul, my basement or my freezer. I always want people to be as interesting as I am, but I keep getting disappointed.
POTTER: What led you to write this script? Was it an idea that just popped into your head, an experience that made you reflect, something else entirely? And once you started, what was the writing process like for you?
WINNIE: It’s actually an adaptation of one of my stories. Short story writing is really my forte. I write dark speculative feminist fiction. That just means it’s about weird shit that happens to women. I spend a lot of time in Toronto and for some reason I’m a magnet for deranged people. Maybe that’s where this story came from. It’s like peeing, you know? In the morning you drink coffee, then tea, then apple sauce, then Diet Coke and when you pee what is it? Some of everything, filtered through you.
For me I write to entertain myself. I’m a tough audience. If it’s boring I have to throw it out. Also I’m addicted to truth. If it doesn’t sound true, I can’t write it. Sometimes I break keyboards by pounding on them because they won’t write the truth. Okay, so I only did that once. I know the problem is actually me, not the keyboard.
POTTER: You won the second annual Windsor-Essex Playwriting Contest. Tell me about that experience and how it affected the approach you took to developing your script.
WINNIE: I really wanted to impress the people at Post Productions. I’d seen a couple of their shows and I appreciate that they are working on darker, more hyper realistic pieces. So much of theatre and fiction is fairy stories where everyone gets a rainbow in the end. I like shows that challenge me, I like fairy stories about the police where everyone gets a rainbow in their end. I wanted to craft a show that was startling, interesting and rang completely true. It’s just a bonus that it’s funny too!
It was awesome winning the contest. They gave me a lot of feedback that I used to shape and sharpen the play. I couldn't have done it without them.
POTTER: You also, at our request, wrote a little "appetizer" play – First Cut – that audiences will enjoy before the main event. What can you tell us about that script and how it sets audiences up for Pry It From My Cold Dead Hands?
WINNIE: Oh First Cut was too much fun. I think it’s hilarious. It moves like a runaway train and there’s no way a person can guess where it’s going to stop. You just have to hold on. And then it’s done and you think was that dark, or funny, and the ending is complete but nothing that you would imagine. Pry It From My Cold Dead Hands also moves like that, but it’s deeper and more complicated. First Cut is like sampling the goat before you order the rest of it to be served. Though it’s not about goats. And I’m a vegan. A bad vegan.
Both of the protagonists – women of course – are safe in their frying pan when something very different changes everything and they have to jump on the tiger!
POTTER: Which stories and storytellers – in whatever genre, format, or medium – influence your writing? What inspired you – and continues to inspire you?
WINNIE: I like stories that make me squirm when I read them. Not squirm because it's yucky but because it's startling. I also like them to have satisfying endings. That’s really important. I grew up reading O Henry and Alfred Hitchcock collections, Shirley Jackson and some weirdo science fiction. I also read all of the James Herriot books. And Harry Potter. In Harry Potter everything seems nice but it ends up being wild and wonderful and that is cool. There are bad people hiding all around behind smiles.
I want stories that could be about me, but then really wild stuff happens and it goes to places I can’t even dream of and it’s really entertaining and I’m glad that it didn’t happen to me, but you know it could have if the right weird things had happened first.
POTTER: A lot of things appealed to the contest judges about the Pry It From My Cold Dead Hands script—it was unique, funny, endearing, somehow both dark and whimsical. But I'd say what most impressed us were the fully-realized character of Giselle, and your strong authorial voice. You don't "sound" like anyone else – and neither, as a result, does Giselle. What advice could you give to aspiring playwrights about developing their own voices and creating unique, fully-fleshed, characters?
WINNIE: I have a friend, Nandi Comer, who's a great poet (look her up!) She told me one day- better than I could put it – everyone says all her books seem to have a different voice. She said it's because they're all about different people and she tried to write in their voice. And succeeded!
When I started writing short stories they were all about a woman named Sheila. I realized I was writing about the same person, a version of me. Then I wrote about a woman with three arms who was definitely not me, who experienced a life completely different from mine and there was no turning back. If you're going to write about different people, be them. Be different people. Our worldview is so narrow and small. Step in someone else's heels. Fall down their stairs. Sleep outside in the dead leaves. Lick bugs. The world is so huge and we are tiny specks.
Stories are really just about what people do when stuff happens to them. Invent your people – pee out a person that's a collection of many things filtered through you – and then let and make things happen to them. If it doesn't seem real don't break your keyboard. The problem is you. Keep working. Time to go outside and sleep in the dead leaves. Look up. There's an awful lot of stars up there. Ignore the girl in the owl pajamas.
the playwright - edele winnie
EDELE EUGENIE WINNIE (playwright) hates all of her names and half of the people she meets. She sees things that other people don’t and she writes about them. She’s a house sitter, a dog walker, and was once hired as a chef in a fancy restaurant and then fired at sunset. Honestly, it wasn’t her fault. All the bodies are still hidden in the basement. Windsor Feminist Theatre produced her creepy play Nurdles and Waves in 2018. She’s written a large pile of short stories, some of which have been collected as books: Sometimes A Girl Just Has To Kill You, That Feeling In Your Stomach is My Knife, Sorry For Killing You So Many Times, and several more. Don’t ask about the Queen of Forks.She is not currently dating anyone.
REBECCA S. MICKLE is a singer, actress, and horror film enthusiast from Amherstburg, ON. She received her Bachelor of Music in Classical Voice from The University of Windsor and her Master of Music in Classical and Operatic Performance from Wayne State University. Her favourite roles include The Beggar Woman [Sweeney Todd] with Cardinal Music and Korda Artistic Productions, and Nancy [A Haunting in E Flat] with Post Productions. She is excited to be performing another fabulous new work with Post Productions. When she isn’t performing you can find her broadening minds at The Detroit Institute of Music Education, working on her debut album, and hanging out with her fluffy bunny, Mustache Sally.
STEPHANIE CRAGG is making her Post Productions debut. She has been acting in community theatre productions for the past 20 years. Favourite past roles include Ariel in The Tempest (Theatre Intrigue), Bilbo Baggins in the ‘Obbit (Korda Artistic Productions), Moth in Loves Labour’s Lost (Ghost Light Players), Lisa Simpson in Mr. Burns: A Post-Electric Play (Korda Artistic Productions), and the Owl in the Birds (Korda Artistic Productions). She also plays the Lady in White for the Spirits of Windsor bus tours (Encore Productions). Stephanie would like to say thank you to all the amazing cast and crew involved in this production; it has been an amazing experience! She would also like to thank all her family and friends for their unwavering support and encouragement.
CINDY PASTORIUS is thrilled to be back for her 4th show with Post Productions. Previous roles include: Flauvia/Belinda (Noises Off, The Bank Theatre), Mom (True West, Post Productions), Ms. Winsley (Stop Kiss, Post Productions), Witch 2 & Lady MacDuff (Macbeth, Korda Artistic Productions) Frances (Jenny's House of Joy, Theatre Ensemble), as well as playing chorus in many productions, including Les Miserables (Theatre Alive) and Aida. She has been active both on stage & behind the scenes in community theatre for nearly 20 years. She is a proud wife, mother, grandmother and high school teacher when she is not performing on stage.
COLIN ZORZIT is making his first appearance at the Shadowbox Theatre! Colin, a recent Master of Education graduate, has used theatre over the last seven years as a way to forget about his crippling student debt. Colin usually prefers to work behind the scenes, but has recently taken bringing silly roles to life more seriously. He most recently appeared as Robin Hood in Korda Artistic Production’s Robin Hood: The Panto. Other credits include Horatio/Romeo in Cheer Up, Hamlet!, Ensemble in Mother Courage and her Children, Seyton in Macbeth, and the Spartan Ambassador in Lysistrata, all with Korda Artistic Productions. He has also served as music and/or vocal director for Extension-Korda, Windsor Light Music Theatre, Holy Names Players, Villanova Players, and A Shot in the Dark Productions. If he’s not in a theatre, you can usually find Colin working at Zehrs. He would like to thank the wonderful folks at Post Productions for the opportunity to work with them and for adding even more silly characters to his resume before he moves away to Vancouver in July. Cheers!
GREGORY GIRTY is best known for playing villains: Bamatabois in Les Miserables (TheatreAlive), Judge Turpin in Sweeney Todd *Cardinal Music Productions), Orin Scrivello in Little Shop of Horrors (Cardinal Music Productions), and Wolf in Into The Woods (Cardinal Music Productions), and Lawrence in Girl In The Goldfish Bow l(Korda Artistic Productions). His most recent appearance,was as Elliot in A Haunting in E Flat (Post Productions).
LUKE BOUGHNER is 257 months old. Here are a list of things he can do: He can eat food all by himself He can use the stove. He can get all dressed up by himself. He can count to ten without using his fingers. He can run so fast. This is his first play. He has always been passionate about film and the performing arts. As long as he can remember he’s loved entertaining people through every type of performance he discovered. Come watch this play or he’ll tell his mom on you.
MATTHEW BURGESS (Set Designer) has been involved in the local theatre scene for six years, trying his hand at nearly every element involved in bringing imaginary locations to life, though he specializes in scenic painting and design. He has been a crucial part of the Post Productions team since its third show, True West, and has since been the visual master behind ten Post Productions projects –most notably Equus, Stop Kiss, American Buffalo, and Another Fucking Christmas Play. In 2017, he was asked to design the masks and props for Walkerville’s WCCA production, Trojan Women, which was built in Stratford as part of their Off the Wall program. Some of Matt's work includes creating the Moose puppet from Korda Artistic Productions’ Evil Dead, and the scenic painting for both Vanya, Sonia, Masha and Spike and Company. He also does figurative sculpture of pop culture icons and did all of the chalkboard artwork found at Rogues Gallery Comics, located downtown. Matthew is now a Props Apprentice at the Stratford Festival Theatre.
CARTER DERSCH (Lighting Designer) is an active member of the Windsor theatre community who has worked on several Post Productions shows, most notably The Pillowman, Equus, Autopsy & A Haunting in E Flat, and Another Fucking Christmas Play: A Fucking Musical. You may have seen his work as lighting designer for Footloose (Arts Collective Theatre), Cabaret (Korda Artistic Productions), and MacBeth (Korda Artistic Productions). When he is not lighting up the stage, he can also be found doing various production work at venues such as the St. Clair Centre for the Arts, Foglar Furlan, Ciociaro Club, and Caesar’s Windsor. Carter is also the sound technician and overall roadie for the award-winning Detroit based band The Sun Messengers.
KRIS SIMIC (Poster & Program Designer) is a graphic designer with 10 years of experience in graphic/web design and print and social media marketing. She studied Drawing and Painting at the Ontario College of Art and Design in Toronto before returning to her hometown of Windsor to earn her Graphic Design diploma at St. Clair College. Kris has been involved in Windsor-Essex theatre on stage as an actress and behind the scenes as a stage hand, set builder/decorator and marketing/graphic design since 2013. She’s enjoyed working with the Post Production team since their first production, Oleanna, designing their posters and programs. If you are interested in viewing samples of her work, all of her past posters with Post Productions are featured in the hallway of The Shadownox Theatre.
eric branget as katurian
Eric is an actor and educator. He has appeared in commercials for companies such as Visa, Oxford Notebooks, and Schick. In the television world, he has appeared in programs such as See No Evil, Scariest Night Of My Life and Evil Encounters. In the local theatre community, he has been most recently seen as Fr. Flynn in Doubt (Post Productions) Morris the gargoyle in Raise The Stakes (Larry Silverburg), and Jimmy McCrea in For The Love Of Late Night (Tall Tale Theatre Co). He is also a co-founding member and acting Artistic Director of Tall Tale Theatre Company. In his spare time Eric co-produces the horror/thriller style original radio play podcast, Night Terrors.
simon du toit as tupolski
Simon started out playing bad men and policemen years ago, so it’s fun to return to that territory! Sometimes there’s not much difference between the two. Simon’s theatre career has included stints as actor, director, designer, professor, dramaturg, historian, published theorist, adjudicator, light and sound operator, floor sweeper, van driver, etc. – a typical life in the theatre! Simon is delighted to be working for the first time with the talented Post Productions team. “Of all that is written, I love only what a person has written with his blood.” FWN.
joey wright as michal
Joey is thrilled to be back on the Shadowbox stage after an already exciting 2019 season starting with Korda’s Reefer Madness and the spooktacular Autopsy with Post Productions. Reuniting with Eric after 10 years has been a rewarding and exciting experience. Michal has been a difficult but rewarding character to bring to the stage, and he hopes you’ll find the entire show compelling and entertaining. Sit back and enjoy the dark comedy that is, The Pillowman.
fay lynn as ariel
Creative Director at Post Productions and co-owner of The Shadowbox Theatre, Fay has spent the better part of the last 20 years acting, directing, producing, stage managing, and filling in just about every other role she can in the Windsor-Essex theatrical community. Recent performance credits include Scattered Ecstasies 2019 – Vocalises at SHO Art, Spirit & Performance; Devil's Night (Trish) with Uncanny Visions; No Exit (Ines Serrano) with Post Productions; and Macbeth (Macbeth) with Korda Artistic Productions. Her next onstage endeavour will be as Emma in Harold Pinter's Betrayal at The Shadowbox Theatre in April 2020.
matthew burgess - set & Prop design, special effects & more
Matthew has been involved in the local theatre scene for six years, trying his hand at nearly every element involved in bringing imaginary locations to life, though he specializes in scenic painting and design. He has been a crucial part of the Post Productions team since its third show, True West, and has since been the visual master behind ten Post Productions projects –most notably Equus, Stop Kiss, American Buffalo, and Another Fucking Christmas Play. In 2017, he was asked to design the masks and props for Walkerville’s WCCA production, Trojan Women, which was built in Stratford as part of their Off the Wall program. Some of Matt's work includes creating the Moose puppet from Korda Artistic Productions’ Evil Dead, and the scenic painting for both Vanya, Sonia, Masha and Spike and Company. He also does figurative sculpture of pop culture icons and did all of the chalkboard artwork found at Rogues Gallery Comics, located downtown.
dave nisbet - composer / graphic designer
Dave has always been a creative person. Visually and musically he’s paved a path all his own over the past 10-ish years creating professionally -- from his years as the bombastic “Dave The Bassist” in a locally loved/hated band called Falling With Glory, to his current status as the freakshow they call DTB and “Junior: The Muscle” in the bank-robbing band called Case The Joint. You could say music is ingrained in him deeply. When it comes to graphic design he started with “Narrow Gate Designs” in 2010, designing t shirts and album covers. It has evolved into Narrow Gate Media, the one stop shop for graphic design, music production, music distribution, and more.
kieran potter a.k.a RAMENSPLOOSH - co-director & animator, animated shorts
Kieran is an up-and-coming artist extraordinaire. At 21 years young he has been creating art longer than he's been able to read. Currently a Visual Arts, and Communication, Media and Film double-major at the University of Windsor, this handsome lad has had a long history with Post Productions: having created the ShadowBox Theatre logo, many online ads, and contributing to a few posters. Kieran's artistic endeavors can all be seen through his slowly growing social-media empire under the pseudonym “RamenSploosh”, where he creates animations, drawings, sculptures, paintings, comics and even music. For comments, concerns, and business inquiries Kieran can be easily contacted through a Twitter direct message to @RamenSploosh, or by email at email@example.com anytime.
mitchell branget - co-director & editor, live-action shorts
Mitchell is a graduate of the University Of Windsor’s Communications Media and Film program, and is currently studying for his masters degree in film production. Mitchell has eight years of experience in the fields of writing, directing, and editing multimedia for film – primarily in the horror genre; his most recent film, Dreamer’s Journey, won Best Horror Film in the 40-minute category in its international debut at the Horror Of The Damned Film Festival in Milan, Italy. Mitchell has also won awards for his work in sound mixing and special-makeup effects.
sadie alejandria - stage manager
Sadie has been involved in theatre since the age of 6 when she joined the chorus in Joseph And The Amazing Technicolour Dreamcoat. She also played one of the royal children in Windsor Light’s The King And I which was the first time she worked with Michael Potter and Michael O’Reilly, two of the founders of Post Productions. Sadie got her first stage-managing role during Annie Of Green Gables Get Your Gun - a holiday panto at the Kordazone Theatre in 2017. Next came Post Productions’ Stop Kiss where she shared those duties for this well-received thought-provoking drama. That was followed by three more shows in the same behind-the-scenes role at the ShadowBox Theatre working with Fay Lynn and friends old and new. Her next project will be Shrek The Musical, opening in February 2020. It is a show dear to her heart because she played Young Shrek during its run 5 years ago and will be its stage-manager this time around. Sadie is grateful to be given the opportunity and experience at age 16 by the Post Productions creative team and she hopes you enjoy their offering of The Pillowman.
carter dersch - lighting designer & operator
Carter is an active member of the Windsor theatre community and is excited to be back at Shadowbox Theatre after designing and operating for the sold-out performances of Autopsy & Haunting in E Flat in October. He was thrilled to be a part of the production team for Shadowbox’s -----------, Equus, Another F** Christmas Play. You may have seen his work recently as lighting designer for Footloose (ACT), Cabaret (Korda Artistic Productions), MacBeth (Korda), ----------. When he is not lighting up the stage, he can also be found doing various production work at venues such as the St. Clair Centre for the Arts, Foglar Furlan, Ciociaro Club, and Caesar’s Windsor. Carter is also the sound technician and overall roadie for the award-winning Detroit based band The Sun Messengers. would like to dedicate his life’s work and this bio to his mother.]
kris simic - poster & program designer
Kris is a Graphic Designer with 10 years of experience in graphic/web design and print and social media marketing. She studied Drawing and Painting at the Ontario College of Art and Design in Toronto before returning to her hometown of Windsor to earn her Graphic Design diploma at St. Clair College. Kris has been involved in Windsor-Essex theatre on stage as an actress and behind the scenes as a stage hand, set builder/decorator and marketing/graphic design since 2013. She’s enjoyed working with the Post Production team since their first production, Oleanna, designing their posters and programs. If you are interested in viewing samples of her work, all of her past posters with PP are featured in their hall. She hopes you enjoy The Pillowman!
AN INTERVIEW WITH THE PLAYWRIGHTS BEHIND AUTOPSY AND A HAUNTING IN E FLAT: ALEX MONK AND JOEY OUELLETTE
Interview by Michael K. Potter
POTTER: How would you summarize your play? What's it about, what happens, and what makes it unique and/or interesting?
ALEX MONK: Autopsy is very much about how toxic our surroundings can be on our emotional and physical well-being. Our life choices and career choices, although they may seem like the safe options, can have effects on us – especially if we're not honest with ourselves. In this play we follow Gary, who's lost himself along the path of life, and now it's far too late. When you start talking to dead bodies and seeing yourself in them, the similarities can be quite horrific.
JOEY OUELLETTE: Thomas Nett is a paranormal investigator. When his niece Charmaine assists on a pair of investigations they uncover more than they had expected in a terrifying way. Why do people get
haunted? Why do other people investigate these things? A Haunting in E Flat answers these questions
but mixes the boos with laughs so it's both spooky and fun.
POTTER: What led you started writing this script? Was it an idea that just popped into your head, an
experience that made you reflect, something else entirely? And once you started, what was the
writing process like for you?
MONK: At the time I was working at an animal hospital where we experienced pet death every day. And
it was the safe choice for me, full time with benefits. But it was really wearing on me, and I really drew
parallels between my life and the play. When I started writing it almost flowed from my fingers, but
after re-reading I found it needed a lot of editing. The most important part was getting it all down, then
polishing it to the finished product that it is.
OUELLETTE: I've been haunted. It really freaked me out. Once you open that door, once you know that
door is there, many things are possible, most of them scary. I began to study the paranormal, and how
people – between hunters – confront it and deal with it. I'd written a series of Thomas Nett plays that
were produced years ago and the ideas and themes were still haunting me, so I opened the door again .
POTTER: You both won the first annual Windsor-Essex Playwriting Contest. Tell me about that
experience and how it affected the approach you took to developing your script.
MONK: It was nice writing it within the time constraints that the contest held because I really need a kick in the pants when it comes to writing. I have about 4 unfinished scripts at home that I get halfway
through then have an idea for another that I begin to pursue under the idea that I've got lots of time to
finish the first script.
OUELLETTE: I was very happy to win. Not so that I can brag, but because I love to tell stories and work
in theatre. There's nothing greater than that. The act of creating something – gathering random
meaningless strings of experience and ideas and weaving them into a moving story – is the most
powerful personal experience I've ever felt. Sharing the script— having it produced – is the ultimate
giving and sharing. It's an incredible feeling.
POTTER: Which stories and storytellers – in whatever genre, format, or medium – influence your
writing? What inspired you – and continues to inspire you?
MONK: I couldn't really narrow it down to one medium. I take it many different genres and formats, but
I think my favorite is when, whatever the show or production is, they incorporate improv into the
scripts. Allowing room for flow and new ideas coming in and out of what's written is so much fun for
creators and for audiences.
OUELLETTE: Oh my. I read a lot. I like the work of KJ Parker most of the time. There's really too many
influences to list. I think theatre, for an audience, is to experience things that make them feel. When I
walk down the street I am bombarded by intense experiences. I try to hold onto a few of them and
share them. They're like ghosts that only I can see. Hopefully an audience at one of my plays can
somehow see them too.
POTTER: You're an actor (and/or director, producer ...) as well as a writer. How do the different
positions you've filled over the years in the worlds of theatre and comedy intersect? How do they
inform - or even interfere - with each other?
MONK: Being involved in all those different parts helps a show that I work on in the way that I can see it
from many perspectives. I may think a certain joke is hilarious on paper, but on the stage it isn't very
practical to do. Or when I'm acting, something in the script might bother me, and I'll be able to come up
with effective solutions or see the reason for the trouble spot. When you're only an actor you may have
a hard time seeing the full picture. Just as in comedy if you produce the show, it changes your view on
the overall success of the show and you're more capable of critically evaluating the show, and your own
performance. The diverse roles I've filed have helped me develop into a better comedian/actor/writer.
OUELLETTE: Life is a strange journey. I'm intensely private and shy. In school I'd take a mark of zero
rather than speak in front of a class. From there I became an actor. That's a bit of a jump, I know. As an
actor I was hungry for experience but found many scripts were either not of interest or too expensive.
So I began to write. Not well. It's essential to take ego out of the equation. I began to direct so that
others could interpret what I wrote. Hopefully, over time, I've become better at all three. Theatre is a
team event. For me, writing, acting and directing can all help influence the journey in the best direction.
ALEX MONK (Playwright, Autopsy) is a new writer. Autopsy was one of the first two plays he wrote simultaneously. Usually an improviser, over the past few years he has become more involved in the theatre scene through acting, and now playwriting. The idea for this particular work came to him while he worked at a job surrounded by death - but he'll leave you to guess what that was. Alex is excited to see his vision come to (un)life and hear the thoughts of family and friends about his play. He is a pisces and enjoys tennis.
DAVID DUCHENE (Gary) has been involved in theatre for over fifty years. He was last seen on a Windsor stage in the title role of Korda Artistic Production’s Doctor Faustus. Other Korda credits include Pisthetairos in The Birds, Dottie Primrose in Devil Boys From Beyond and Father in Eurydice. He has performed extensively on several Michigan stages, done theatrical tours of both the US and Canada and has been seen or heard in commercials for television and radio. He has also voiced numerous titles for the Blue Diamond Audio Books series. He is delighted and honored to be performing for the first time with Post Productions!
JOEY WRIGHT (John Doe) is thriller to be making his Shadowbox debut with the cast and crew of Autopsy. Fresh off directing Reefer Madness at Kordazone, Joey has been a member of the theatre community for eight years performing in over 20 productions. Previous roles include Austin in True West, Ed in Evil Dead the Musical and The Man in Hard Hearts. He didn’t earn his nickname as Korda’s favourite corpse for nothing and he looks forward to expanding that monicker to Post.
DREW BEAUDOIN (Michael) has been an actor for his entire time in Windsor, joining the theatre scene relatively late in life. Since moving here from Toronto, he's performed with Korda Artistic Productions and Cardinal Music Productions, and is thrilled to be making his debut with Post Productions. Past credits include Paul in Company, Clopin in The Hunchback of Notre Dame, and Gabe in Next to Normal. Aside from theatre, Drew spends most of his time surrounded by his three cats.
REBECCA S. MICKLE (Marie-Louise) is a singer, actress, and Oxford comma enthusiast from Amherstburg, ON. She received her Bachelor of Music in Classical Voice from The University of Windsor and her Master of Music in Classical and Operatic Performance from Wayne State University. Her favourite roles include The Beggar Woman [Sweeney Todd] and Rapunzel [Into The Woods] with Cardinal Music Productions and Korda Artistic Productions. She is excited to be making her Post Productions debut with these fabulous shows! When she isn’t performing you can find her throwing hammer and caber, and hanging out with her two fluffy bunnies.
JOEY OUELLETTE (Playwright, A Haunting in E Flat) is super excited to release some ghosts at the Shadowbox with the premiere of his play A Haunting In E Flat! He researched this show by interviewing and accompanying different ghost hunters and groups, as well as including some of his own paranormal experiences. With over 200 produced plays to his credit, Joey’s words have been spoken all over North America. Boo!
JAMES STONE (Thomas Nett) is extremely proud to be performing with the remarkable cast of The Haunting in E-Flat. James, who also teaches high school drama, has been performing in various community theatre productions for over 25 years, including Cabaret, Noises Off, Jitters, and The Teahouse of the August Moon.
CARLA GYEMI (Charmaine) is thrilled to be back at the Shadowbox Theatre in this spooktacular show and channel some spirits! Carla made her Post Productions debut as Sister James in Doubt, and also had the pleasure of being part of their wild Christmas show last December. Joining the theatre community at an early age, Carla has enjoyed playing with, and learning from, many casts and companies. Past roles include Kathy in Company, Roz in 9 to 5, The Baker's Wife in Into the Woods, Demeter in Cats, Tiger Lily in Peter Pan(to), and Agnes in The Divine Sister.
REBECCA S. MICKLE (Nancy) is a singer, actress, and Oxford comma enthusiast from Amherstburg, ON. She received her Bachelor of Music in Classical Voice from The University of Windsor and her Master of Music in Classical and Operatic Performance from Wayne State University. Her favourite roles include The Beggar Woman [Sweeney Todd] and Rapunzel [Into The Woods] with Cardinal Music Productions and Korda Artistic Productions. She is excited to be making her Post Productions debut with these fabulous shows! When she isn’t performing you can find her throwing hammer and caber, and hanging out with her two fluffy bunnies.
GREGORY GIRTY (Elliot) is best known for playing villains: Bamatabois in Les Miserables, Judge Turpin in Sweeney Todd, Orin Scrivello in Little Shop of Horrors, and Wolf in Into The Woods. His most recent appearance, as Lawrence in Girl In The Goldfish Bowl, was his first departure from musical theatre. He joins Post Productions for his second non-musical role.
Photo Credit Michael K. Potter
JOEY OUELLETTE (Donny Dubrow) has participated in more than 500 different productions as an actor, director and playwright -- most recently Spirals and Best For You with The Purple Theatre Company, Big Green Sky and Riveter with Windsor Feminist Theatre, Yellow Vines and The Man Who Married A Chicken with Paperknife Theatre and Post Production’s Equus and Nothing But The Truth. He’s toured extensively with children’s shows and was part of the Canadian touring production of Cannibal Cheerleaders On Crack. Why isn’t there a regular improv company in Windsor? It’s time there was one. Upcoming he will be directing his ancient Greek style play Doves at War at the Pelee Quarry amphitheatre and performing in Marjorie Prime with Bloomsbury House at Sho. A winner of the 2018 Windsor-Essex Playwriting Contest, Joey’s plays have been produced all over North America; this October you can see his latest play, A Haunting in E Flat, at The Shadowbox Theatre.
MARK LEFEBVRE (Teach) graduated from the University of Windsor’s School of Dramatic Art, and over the last 30 years has been performing in and producing professional theatre, film, dance, music and visual art works. He toured internationally with Gina Lori Riley Dance Enterprises, sings with Ian Smith’s Spectrum Chorus and co-founded the award winning troupe Stilt Guys. Mark taught at St. Clair College, and was a therapeutic clown doctor (Dr. Dan D. Lion). Married to the lovely and talented Susan Doucet, he is the proud father of sons Jacques, Sylvan and Cavelle. His middle name is Art.
SEAMUS TOKOL (Bobby) recently graduated from Walkerville Centre for the Creative Arts as a student in drama, vocal and media. Theatre credits include Ariste in The Learned Ladies, Caractacus in Chitty Chitty Bang Bang and most recently Jean in Rhinoceros. He also directed Walkerville's entry in the NTS Drama Festival, The Tell-Tale Heart, for which he won an award of excellence for direction. He would like to thank all of his friends and family for their support in his artistic endeavours. He would also like to apologize to Donny.
Photo Credit The Headshot Company
JESSIE GURNIAK as Rachel Klein
Jessie has been active in Windsor's theatre scene for over 10 years, getting her start in Theatre Alive's summer camps. Now she has branched out and been part of productions with other companies such as Windsor Light Musical Theatre, Cardinal Music Productions, Korda Artistic Productions -- and is thrilled to be making her debut with Post Productions. Selected past credits include Joan in Fun Home, Cheryl in Evil Dead: The Musical, Jemima in Cats, and Shprintze in Fiddler on the Roof. Aside from theatre, Jessie has been in a handful of short films and music videos and is in her first year of Public Relations at St. Clair College MediaPlex.
MICHELE LEGERE as Dr. Marilyn Morgenstern
This is Michele’s second show with Post Productions, having recently played Dora Strang in Equus. She was recently seen as Joan in Strangers Among Us with Korda Artistic Productions. In 2017, Michele received the Best Actress in a Lead Performance award at the Western Ontario Drama League Festival for her role as Nora in Ghostlight Production’s Better Living. For that same show, she earned a nomination for Best Performance in a Lead Role at the Theatre Ontario Festival in Ottawa. You can next see Michele in The Drowning Girls with Ghostlight Productions.
SHAYNA REISS as Carmen Garcia
Shayna Reiss is excited and grateful to be performing as a powerful Latina lawyer. Interested in acting since she as very young – and falling in love with it when her first commercial aired in 2006 – Shayna received a scholarship and studied at New York Film Academy for Acting and Performing Arts. She continued to pursue her love of acting by being a part of community theatre, by attending acting seminars and International competitions, and now by acting her first role with Post Productions. You may have recently seen Shayna in the ensemble of Windsor Light Musical Theatre’s production of Mamma Mia last year. Shayna thanks her mother, Christine Cooper, for always being supportive of her passion for acting, and dedicates her performance to the memory of her loving and devoted father, Mark Reiss.
PAUL SALMON as Stan Goldman
Paul has been performing in stage plays since the age of twelve, and feels blessed to have played some powerful characters. Paul has also been involved in some local film productions playing a kidnapper/rapist, a school teacher, and an extremely irritated father at the dinner table. Paul loves the craft of acting completely and is grateful to be a part of this wonderful cast in this edgy drama, working again with Fay, Michele, and Joey Ouellette after many years – and sharing the stage with Jessie and Shayna, two talented young actors, for the first time.
JOEY OUELLETTE as Dr. Jerome Adler
Joey has participated in more than 500 different productions as an actor, director and playwright -- most recently Spirals and Best For You with The Purple Theatre Company, Big Green Sky and Riveter with Windsor Feminist Theatre, and Yellow Vines and The Man Who Married A Chicken with Paperknife Theatre. He’s toured extensively with children’s shows and was part of the Canadian touring production of Cannibal Cheerleaders On Crack. He was there the night the audience stormed the stage. Please don’t do that. Joey’s specialization – and passion – is playing animals. He also played the sheep in a touring production of Charlotte’s Web, the flying fox in What’s Happening In The Rainforest, and as an elephant in the Secret Garden. His favourite role was the cat in The Purple Theatre’s Production of A Cat, A Vacuum and The Colour Orange.You may also have seen him recently in Post Productions’ Equus as the really tall horse at the back (and as Frank Strang). A winner of the 2018 Windsor-Essex Playwriting Contest, Joey’s plays have been produced all over North America; this October you can see his latest play, A Haunting in E Flat, at The Shadowbox Theatre.
A playwright, monologist, essayist, and author of a memoir, Eve Lederman’s name is not familiar to the Windsor-Essex theatre audience – yet. With the premiere of her play, Nothing But The Truth, at The Shadowbox Theatre on April 19th, people are going to be talking and thinking and arguing about her work in 2019 – and hopefully for many years to come.
The play – produced by Post Productions and running for five performances from April 19th to 27th – already has quite a history. It was named a finalist and “highly commended play” in the BBC’s International Playwriting Competition, a finalist for the ScreenCraft Stage Play Competition, and was produced as a radio drama with The Radio Theatre Project. The play has been developed in New York City for several years: it appeared in Theatre for the New City’s Dream Up festival and the T. Schreiber Studio & Theatre’s New Work Project and was also a semi-finalist for Theatre Resources Unlimited’s TRU Voices series, the Urban Stages Development Program, and the Normal Ave Playwriting Series. Elsewhere it has been a semi-finalist in Geva Theatre’s Festival of New Theatre (Rochester, NY), The Phoenix Theatre Festival of New American Theatre, the Theatre Evolve New Works festival (Chicago, IL), and the Bridge Initiative/Women in Theatre contest (Mesa, AZ) – amongst others.
The production at The Shadowbox Theatre will mark the first time Nothing But The Truth has been produced as a stage play.
Recently, Eve Lederman chatted with Post Productions’ managing director Michael K. Potter about the play, her writing process, how to handle feedback – and in general, what it means to be an up-and-coming playwright in the competitive world of contemporary theatre.
MICHAEL K. POTTER: For those readers who are coming in cold, can you tell us, briefly, what Nothing But The Truth is about – in terms of story, but also in terms of theme?
EVE LEDERMAN: Nothing But The Truth depicts the volatile relationship between a patient and her therapist enmeshed in a malpractice case. Rachel is a vivacious yet distraught young woman exploring family secrets with her maternal doctor Marilyn. But when Marilyn faces questions in a lawsuit for abruptly terminating Rachel’s treatment, she paints her as violent and an explosive, life-altering battle ensues. The story is about therapy, betrayal and the blurry line between obsession and love as told through the warped lens of the court system.
Furthermore, in our current cultural climate, I think a play that portrays a struggle about what the truth means and how we dispute facts presents a timely and provocative topic.
POTTER: Tell us how Nothing But The Truth started for you. How did the idea for this play occur to you, how did it eventually become a radio play, and what has the process of developing it to this point involved for you?
EVE LEDERMAN: I’m fascinated by the idea of therapy – it’s the only relationship that exists where nobody else knows what takes place between the two. You don’t engage in the outside world; no one else will ever see you interact or be privy to your conversations.
I also think the dynamic of transference is remarkably fierce as well as potentially volatile – I went to therapy in my twenties to talk about boyfriend troubles and my career, and transference hit me like a truck. The power of “unconditional positive regard”—being seen, heard, understood and accepted—caries incredible power, one that a therapist must use wisely.
Finally, I’m also intrigued by the idea that therapists often pursue the field in relation to their own traumas, in the way that addicts become drug counselors. What if they’re not exactly healed?
During the development of the script, one of the early critiques was that the play was too talky and static – factors that are rather inherent to both therapy and depositions! There’s no dancing, screaming, choking, slapping or thumb-wrestling as in my other play To Life. So when I saw a submission opportunity for a radio play – where, of course, visual elements would fall flat – I thought Nothing But the Truth would be a perfect fit. The rewriting process was rather simple as very little dialogue needed altering. Often you just need to add the name of the person the character is addressing to clarify who the dialogue is directed to. The fun part was creating the sound design – every time a door opens or closes, or a character walks across the room, the audience hears that element, and there’s definitely an art to it. When Carmen walks in, do we hear the confident clickety-clack of high-heeled pumps or the shuffle of sensible shoes? And don’t get me started on the range of vomit sound effects . . .
POTTER: During its development, Nothing But the Truth has been a competitor in several contests. I can’t help but wonder how those experiences affected your choices while revising the script – were they helpful to you in some way? And if so, could you give us some insight into how?
EVE LEDERMAN: Several is an understatement – try 740 (over four years)! I believe in submitting to everything as you never know what door will open. The competitions themselves haven’t furthered the script, but sometimes they ask for a list of developmental goals which forces me think about what I still need to work on.
Overall it can be a frustrating process – you don’t want to submit too early when the script is rough around the edges. And by the time they get around to making a decision 8 months later you’ve already made revisions but can’t fire off a note saying, “Wait, read this one!” On the flip side, I had my script rejected recently as a finalist for a playwriting lab because I was told it was too developed and they wanted to see a script evolve.
The contests that lead to readings are the most beneficial—and it certainly helps when the theater foots the bill!
POTTER: Which stories and storytellers – in whatever genre, format, or media – influenced your approach to Nothing But the Truth? What inspired you – and continues to inspire you?
EVE LEDERMAN: I try to just stay open to a variety of media when I’m in the groove, and things serendipitously jump out that speak to me and fuel my creativity. For instance, I read an op-ed in the NY Times about whether pedophilia might fall along the OCD spectrum and I took that debate, gave it to my characters and let them hash it out. Likewise, I saw the film The Tale, which affected me deeply; I introduced it to my character Rachel and let her wrestle with my own questions in her therapy.
Early on in the writing I watched Oleanna and Collected Stories to see power plays in action, and a monologue in the latter inspired me to add one in my play. I loved a review of one Oleanna performance which noted that audience members broke out into a fist fight after the show, and another said that for Mamet, “conversation is a blood sport and words are lethal weapons” – a sentiment that I hope to emulate!
I’m inspired by a wide range of storytellers. I relate to Paula Vogel’s ethos that “the more we tell our own truth, the more everyone can tell theirs.” Neil Simon wrote an essay that I love in which he describes himself as a two-headed beast – one part is the human involved in interactions, and the second is a writer- monster who’s simultaneously observing and taking notes. I live in this duality and find that when my heart gets crushed and says, “Oh my god, this is devastating; I can’t survive,” while my head is yelling at me to take notes because this experience is a gold mine, that’s the sweet spot where I find the most compelling material.
I think theater should make people uncomfortable, as Edward Albee said, challenging audiences to confront situations and ideas that lie outside their comfort zones. Plays aren’t meant to be pleasant and safe, but rather “constructed as correctives” to hold a mirror up to people. My goal, like Albee, is for “the audience to run out of the theater — but to come back and see the play again.” And Terrance McNally said that a woman approached him after Mothers and Sons and told him that the play moved her to reconnect with her child. I, too, hope to create work that reminds us that we’re not alone.
POTTER: Having read a couple of versions of this play, I know you made some changes over the last year to address contemporary events and developments – such as the rise of congresswoman Alexandria Ocasio-Cortez. The influence of this fascinating politician on the character of Carmen intrigues me. What changed once you decided to include that influence? How did her example change the character of Carmen?
EVE LEDERMAN: Early on, the two lawyers in the play were cardboard cutouts; they didn’t have personalities outside their legal wrangling; they didn’t have anything at stake beyond the case, and there was little relationship between them. Over time, I played with how to create tension and conflict between their characters. At first the female lawyer was very overweight in comparison to her virile male counterpart. I also toyed with a haggard, middle-aged female attorney. In one reading I reversed the roles with a wise, older male attorney patronizing his young ingénue opponent.
And then a few factors collided – I read an article in The Atlantic about how female trial attorneys are routinely harassed and demeaned and it also mentioned that minorities are sorely underrepresented in the industry. At the same time, Alexandria Ocasio-Cortez was beginning her meteoric rise and subsequently trounced her white male opponent. I heard that her campaign contributions came from across the country and she raised millions with donations that averaged twenty dollars. I thought perhaps I could tap into the zeitgeist with a Latina heroine (and there aren’t roles for many), which could also help build an audience and perhaps even fundraise for self-production.
From there I took a deep dive into research about female trial attorneys’ experiences to create an authentic character and started to incorporate those stories into the text – for instance, the Bar Association’s resolution preventing men from calling female attorneys by pet names like “honey” or “darling” in court!
POTTER: I now get the sense that the two lawyers, Carmen and Stan, have dealt with each other before, but that Carmen is still a little green – though on the ascent. Stan seems almost bewildered by her in the early scenes, not quite certain what to make of her growing confidence and clear ability. So the audience gets to experience this intriguing relationship between two professionals with very different points of view, different experiences, who also represent larger cultural forces and debates. What about your principal characters, Rachel and Marilyn? What inspired their characterizations, and what do they represent beyond themselves?
EVE LEDERMAN: I’ve seen – ahem – a few therapists (it’s as routine as getting your nails done in New York), and Marilyn is a compilation of many of them. In fact, I often find myself whipping my phone out during a session to make note of something I’m going to use. (Or, alternatively, sobbing while a voice in the back of my head says, “Damn girl, that’s good – write it down!”)
But on a larger scale, Marilyn represents the imbalance of power that medical professionals hold—both in terms of the relationship’s emotional dynamic (in a therapeutic setting) and the fact that the doctor holds the degree, training and expertise while the patient is deemed the weaker “sick one,” mentally or physically. Furthermore, the Hippocratic oath “do no harm” is accompanied by the unspoken oath “admit no harm.” Doctors are cautioned to never acknowledge wrongdoing or even to apologize because that opens to the door to a lawsuit. In fact, a woman I know sued a prominent hospital for malpractice after cancer surgery—the surgeon left a sponge in her which appeared on the x-ray and yet they refused to settle, deeming her pain as malingering. And I was moved by a man at one of my readings who spoke about a family member hospitalized for mental illness; he acknowledged feeling powerless as the doctors who discounted him.
Rachel represents the deep, pervasive and lifelong ramifications of sexual abuse. I think the statistics bandied about – one in four women are victims – as well as the rather generic descriptions of the consequences of sexual abuse (who doesn’t suffer from depression or low self-esteem?) belie the true devastation and destruction.
POTTER: The play asks audiences to consider two very different points of view on an intense relationship that didn’t work out as either party intended or wished. This isn’t easy, but as a producer it’s something I appreciate, as most of the plays I’ve produced feature just this sort of ambiguity, seeking to create ambivalence in the audience – for instance, Oleanna, True West, Equus, and Doubt. How did you try to ensure that each character was heard on her own terms, without undue judgment on your part, and without pushing the audience to favour one side over the other?
EVE LEDERMAN: It was a long evolution and a delicate balance to get to that point. In my first draft, I had a clear villain and heroine; one character had clearly wronged the other. Then I read something that said both characters in an argument must be right and after a reading, a producer told me to consider the Rashomon effect – which takes every character’s point of view into account. I started rewriting with that in mind (more than 30 drafts!), also considering timing: Reveal something too soon and the character is waving a big red flag; too late, and the audience may have forgotten the previous bread crumb I dropped. However, it was primarily feedback that helped to shape the balance over numerous readings – mainly from audiences, but also from actors, directors, producers, therapists and lawyers. I got the play into anyone’s hands who was willing to look at it with a new perspective and a fresh eye and I always walked away with useful critique.
Initially, the therapist was too unprofessional and clearly at fault; then I swung too far and the patient was crazy and manipulative. Reading and talkbacks were critical to hearing what worked and I was lucky to have passionate audiences who engaged in vigorous conversation, illuminating points I wasn’t able to see from the inside.
POTTER: What an amazing opportunity it is to get feedback on your work. We can so easily become lost in our own perspectives, assumptions, and histories when writing. Often what’s necessary is to find out what sort of meaning others are making from our work so we can ask ourselves questions like, Are people interpreting this story in the way I intended – and if not, is that all right? Yet, many writers worry that they’ll lose their unique voices and their intentions by listening to and trying to incorporate feedback. How do you handle the task of attending to feedback while maintaining your authorial voice and intentions?
EVE LEDERMAN: It is a very delicate balance, no doubt! There is no roadmap in deciding what to incorporate and what to discard in terms of feedback, plus I find that can also change over time. Actually, I was a bit misleading in my previous mention of rewriting with the Rashomon effect in mind; I did do so...but not for a year. I initially discounted the idea because I couldn’t envision how to incorporate it. Also, early on, someone suggested I open the play with the ending and I junked that. Then a few years later after other elements had evolved, it suddenly made sense. I think one red flag to look out for is when someone’s feedback aims to alter the essence of your story. I had an agent interested in the play, but she thought the therapist should have her children taken away from her for neglect. “When I go to the playground, you wouldn’t believe how many parents ignore their kids,” she mused. That was her story to tell, not mine, even it if meant losing out on an agent.
Also realize that you can’t please everyone. That sounds simplistic but I read a great quote that said to have a hit play, people have to love it and others have to hate it. Otherwise it’s just mediocre. In fact, one close friend whose opinion I trust loved the first iteration of the play, which revolved around only the patient and therapist, good and evil, and has stated that I’ve since “destroyed it!”
The antidote, I believe, is to have one trusted producer or director who is your rock during years of development and I’m so grateful to have found that in Frank Calo of FMC Productions. I knew him casually from my neighborhood and pulled him into the festival production four years ago to assist with contracts. Our creative partnership blossomed from there and we’ve spent countless hours poring over scripts together. I bounce ideas off him, send him new writing, and discuss feedback and he guides me with direction that takes my work to another level. Writers can spend a lifetime in search of this partnership, but if you find a director who gets you and believes in your work (and devotes years of unpaid hours!), nurture the relationship and cherish it!
POTTER: Why did you end up sending your play to Post Productions? And what has that experience been like – having your play produced by a little theatre company in a small city far from where you live?
EVE LEDERMAN: In the United States, competition for readings and festivals with the faint hope of production is fierce. Theaters get many many hundreds of submissions for a single slot so I decided to branch out to Canada and contacted theaters that had produced plays with similar themes.
I was utterly shocked (and thrilled!) to get an email back from Post Productions quickly with interest in reading the play and indicating a decision would be made in a couple weeks, and I found other Canadian theaters were equally approachable. In New York, a theater can take 8 to 12 months to respond to an email. One took 18 months to reply to my 10-page sample and request the full script. I’m waiting another 8 months and counting to get a response to that.
I will concede that is hard to hand over my first production without being involved in casting and rehearsals, and even more so because I simply love the process of making the play come alive. Ultimately, I have to trust that my vision on the page will guide the way.
POTTER: It’s a strong vision, and I promise we’ll do our best! Thanks so much for taking the time to talk with me.
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