 Who are you, and where might audiences have seen you before?
I'm Lauren Crowley, most recently seen at Korda with Cardinal Music Productions as Sheila in Hair, Street Urchin in Little Shop of Horrors, and Morticia Addams in The Addams Family. What was it like for you making the transition from musicals into a play like Stop Kiss? What could you bring with you from your musical experience - and what did you have to change or adapt? I love musicals. I love singing and dancing and acting WHILE singing and dancing - it's just a blast. I think my past experiences with musicals have both helped and hindered my process for Stop Kiss. Being able to find the "song moment" across the scenes has helped me to pinpoint emotional highs and lows throughout the show, as well as isolate the underlying state of my character in moments of mixed messages and confusion. I think one of the biggest adaptations to be made from the characters I've played in musicals to Sara in Stop Kiss would be the manifestation of her emotions. In a musical, when faced with conflict or strong emotion, a character often expresses their state of being through song. Finding the way my character might cope with their "song moments" without the use of music has required a deeper study of human nature. Choosing outburst vs. withdrawal, or patience vs. action -- these moments define Sara as a "real person", as do her reactions to the consequences of her choices. She has really pushed me out of my usual habit of connecting to my character, and into the process of defining her based on her experiences instead of my own. What can you tell us about Sara? Who is she and what does she need? Sara is a lovely human being who has fairly recently started living her life for herself. She got out of a relationship she felt was holding her back and made her way to New York to teach third grade in an area where she believes she can really make a difference. She is strong, caring, and confident, albeit a bit idealistic at times. I think Sara's needs often stem from her self-assured nature, and are a reflection of the fact that she doesn't always understand that not everyone has as clear a vision of who they are and what they want for their lives as she has. She seems to want Callie to have herself all figured out, but I also think Callie's lack of direction and self-awareness is one of the things Sara is initially drawn to. That raises another question, doesn't it? Why would Sara be so intrigued by someone who lacks self direction and self awareness? Definitely a challenging question. It can't be as simple as chalking it up to "opposites attract" or any other available cliché, but there is some truth to the excitement in a balancing act of two seemingly different personalities. Sara is one of the few people who seems to bring out Callie's silly side - she seems much less guarded around Sara than any of the other characters. Seeing this lighter side to Callie solidifies in Sara's mind that she could be a much happier person, but doesn't necessarily know how to go about making the required changes, or even what those changes are. Based on some of the references to Sara's life in St. Louis, I get the impression that moving to New York was the beginning of the strong, self-assured Sara we see. She makes references to finally being where she wants to be, which implies that while she was back home and with Peter that she was living similarly to what she sees Callie doing; she was letting life happen to her rather than creating the life she wanted. This connection is likely what encourages Sara to help Callie find what she wants and go after it - it is less about being attracted to her lack of direction or self-awareness, and more about caring for Callie because of who she already knows her to be and wanting to help her find the same happiness that Sara was able to find for herself. Building on what you've just said. What is Stop Kiss telling us about love - in general, and in particular the types that Sara has experiemced? Sara's experiences with love all seem to be very different from the next: her family, her students, Peter, and Callie. She describes her family as a cult, jokingly of course, but her parents do seem to be a bit overbearing and protective. She never mentions any siblings which leads me to believe she is an only child, likely contributing to this extreme closeness by which she feels a bit smothered. Her love for her work and her students is evident in her idealistic view of her kids in New York - she is truly proud of their accomplishments and seems to prefer working with students in higher risk populations, offering them the support and love they may not otherwise be getting, in order to feel fulfilled. In a way, I think this love is more self-serving despite its seemingly altruistic nature; feeling that her students need her gives her a sense of purpose she is otherwise lacking. Her love with Peter strikes me as the kind where she ended up staying in the relationship for much longer than she was happy in order to continue meeting someone else's needs. Caring for Peter lead her to prioritizing him over her own happiness, ultimately leading to a break up that felt like a long time coming for one party, and an absolute shock to the other. Although I definitely think leaving was ultimately best for Sara, it is possible that no longer being needed by Peter was part of what prompted her need to be needed by her students instead. Sara's love for Callie is the love that catches you off guard - the one you never saw coming. They bring out the best in each other while balancing each other's extremes. It's friendship first, full of support and empathy and fun, with the added bonus of wanting to hold hands and cuddle whenever possible. The overall message in Stop Kiss regarding love, to me, is that you need to be open to love without judgement of where it is coming from. If we close ourselves off with rules or expectations about who we will or should or have to end up with, we are almost guaranteeing our own unhappiness. Love is about being open, vulnerable, honest, and all those scary things that make it difficult to have with just anyone. Accepting that, and wanting it for ourselves and for everyone else would truly be a step towards a more loving world as a whole. Finally, why should people see Stop Kiss? Stop Kiss is a beautiful show. It takes a variety of perspectives on relationships between people - how they form and how they influence our lives. The story is beautiful and tragic with great bits of humour thrown in. The characters are very relatable and I have no doubt the audience will see pieces of themselves in each of us on stage. Not to mention my cast-mates are all such incredibly talented, genuine people and they are truly a joy to watch. The show will make you feel, it will make you think. It will make you want to hold your loved ones close, and remind you how important it is to speak your love. Photo by Jaqcues Scheepers Photography
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 Who are you, and where might audiences have seen you before?
I’m Dan MacDonald. You might recognize my voice from 939 The River - I'm the host of The Afternoon Drive - and I also host and produce a weekly show called Hear + Now which showcases local music! As far as theatre goes, I've performed in local theatre since 2010 - including the DRAG Trilogy at Kordazone, I was in the musical (title of show), - also some really fun roles in plays like Entertaining Mr. Sloane, The Divine Sister and the gender-bending Theodora: She-Bitch of Byzantium to name a few. I’m pumped to be working with Post Productions for the first time! Clearly your theatre experience is mostly in edgy gender - ending plays. How is playing a character like George in Stop Kiss different for you? Was the transition difficult? Believe it or not, playing George is actually CLOSER to the real me than the other roles I've played. George works in the service industry (I did as well for about 10 years), he likes to party, he seems to have a bit of fluidity when it comes to the people he's with, he's laid back, a little bit directionless but ultimately he's probably considered a nice guy with a small wild streak. I see plenty of myself in that character! That gives us a pretty good sense of who George is. How does he fit into the story and themes of Stop Kiss? I feel like there are so many themes of identity in the play - people searching, finding, becoming who they are - and George is someone who seems secure and confident in who he is. Not perfect, but not trying to be. I love his confidence. Mostly - I love his warmth. He loves to party and be social, but his heart is always in the right place when it comes to his close friends. Callie is a close friend. He loves her - but I feel it's a true love. More than “girlfriend love”. It’s a love that has evolved to something far stronger than romantic - it's almost more like family. That said – I do think there is a small bit of sadness when he realizes how his relationship with Callie is changing – although I believe he accepts it fully, because he’s an “it is what it is” kind of guy. George really does seem to embody a particular kind of love - what Bertrand Russell called creative love as opposed to possessive love -- the kind that is open and welcoming and respectful of the dignity of others. Do you see this as the sort of love that dominates the story of Stop Kiss, or is it one of several alternatives at work in this story? How complex is love on this play? It's so true. George's love is not the SLIGHTEST bit possessive or selfish - just open! He wants to have fun and he wants everyone else to have fun, too. A little bit hedonistic - but an ethical hedonist! I don't think George ever intends to hurt anyone - but he appreciates people who carry the same "open door / zero drama" policy when it comes to romance. Love seems to be moving into uncharted territory for many of the characters in the show. Peter is losing what may have been the love of his life. Callie might be discovering real love for the first time. George's love for his friend is evolving into something deeper than just a good friend with benefits. The characters - almost all of them, including Mrs. Winsley - seem to be in the process of figuring out where they stand with their significant others. Like any relationship - it's all a work in progress, all a beautiful struggle. But - love is complex and as simple as it can be - it can be equally complicated. The love in this play is all true - and much of it has some baggage. What has the rehearsal process been like for you, personally, as you’ve experienced the play evolve and take place? The rehearsals have been fantastic. I love that we do some character study and examine who everyone in the story is. What I most love is the timeline of this show. The scenes are not in chronological order - and watching the show evolve and the way the timelines come together to tell this story make it SO impactful! To me it backs up themes of connection ... and disconnection. Emotional and physical. There are connections ... and there are disconnects. Rehearsing the scenes in order, and then watching how the scenes fall into their proper place in the script - it almost created a whole other show for me -and seeing some of the scenes I was in, in context with the other scenes they fell between gave me insight into the story and characters. Why should people see Stop Kiss? What's in it for them? So many great reasons to see Stop Kiss. Mostly - it's a simple story, but like ALL simple things, nothing is ever TRULY simple. This is a show about raw love; it's warm, it's shocking, it's tense, it's charming, it's touching. It's tight writing and a timeline that will keep people guessing. It's an honour to work with some of my favourite people in our city's theatre scene in this show - and throw in some music from one of my favourite local artists - Flower Face. I think going to see this show will be an emotional experience: fun, entertaining, but also heavy. I'm sure the trajectory of our lives changes every single SECOND. This is really about one single moment and how it can change everything we know - about life, and about ourselves. Photo by The Headshot Company  Who are you, and where might audiences have seen you before?
My name is Matthew Froese. I've got my own Caesar at home. Most recently audiences might remember me from Bedroom Farce at Korda. What can you tell us about your character? What's he like and how does he figure into the story and themes of Stop Kiss? Peter’s situation is pretty familiar to a lot of people. His relationship is over and he doesn't know it yet. He needs closure and instead he's presented with an opportunity to try to white knight his relationship back to life. I think he presents the easy option for Sara, making her choice to stay in New York that much harder. It might be easy to play a character like Peter as a one-word sad sack. How do you make him dynamic, living, and real? We talk in rehearsal all the time about how none of these characters are bad people. That includes Peter, although his goodness is perhaps hardest to see. My goal is to get the audience to see his heart breaking and not let his entitlement and self-centered petulance take center stage. Love seems to be the central theme in Stop Kiss - specifically, that love comes in many varieties, some of them unexpected and novel to people at various points in their lives. Peter, as you say, is a good person, and he seems to represent or embody a specific sort of love. How would you describe it? Peter's love is misguided, confused and based on happier times, I guess? Photograph by The Headshot Company  Who are you, and where might audiences have seen you before?
My name is Cindy Pastorius. I play Mrs. Winsley and Nurse in Stop Kiss. Audiences may have seen me most recently as Mother in Post Production’s True West. Previous theatre performances include Frances in Jenny’s House of Joy, chorus in Les Miserables, Greek Chorus in God of Ecstasy, and Stranger/Mistress in Dead Man’s Cell Phone What can you tell us about your characters? How do they fit into the story and themes of Stop Kiss? What kind of people are they? Mrs Winsley is more complex than I first thought. She seems to be a woman haunted by her past (she’s always been a fitful sleeper). But she came to NYC as a young woman from a small town seeking something. She’s also haunted by her husband’s infidelity, and haunted by the violent act she witnesses. She wants desperately to be accepted as a NY bourgeoisie but she’s still not 100% sure if this is who she really is. This fits the theme of searching for self: the idea of running to, rather than away, from who you are; the idea of facing truths that others see, long before you can face them yourself; the idea of accepting who & where you are or stopping and reevaluating your direction to live your authentic self. It’s about self acceptance and self love as much as it is about accepting and loving others. The nurse is simply that: a helper, a confidante, a non-judgemental person who helps those in her care as well as their loved ones. She says little but invites others to have their say. She is a small, comforting rock in the middle of a wild storm. As an actor, how do you approach bringing each of these characters to life, giving them distinct voices and personalities and identities? Trying to give minor characters life is difficult. You don’t get the same amount of information as you often do with leads. I try, usually with the help of really great directors, to create their life before the play. If you don’t give them an entire past -- with feelings, emotions, and memories -- then it’s just you standing on the stage saying lines. This time, playing two characters who are very different, is a challenge. I’ve had to decide how to make the audience believe they are two very different people. Obviously voice and mannerisms come into play. Love, in its various forms, is clearly one of the themes of Stop Kiss. What do you think the play tells us about love overall and also, specifically, through your two characters? Love is complicated. When you find it, hold on to it for all it’s worth and tell the people in your life that you love them. Through my characters we see love of humankind -- caring for others despite them being perfect strangers is a part of each of my characters. One wonders if they find their connections this way rather than in their own homes. What would you say to someone who is on the fence about seeing Stop Kiss? Why should they see this play? I would tell people to grab someone they love, agree to hold hands for the entire show, and come and be reminded why it isn’t always easy to put into words the reasons why we love someone. We just wouldn’t be complete without them! Photograph by The Headshot Company  Who are you, and where might audiences have seen you before?
I am Alex Alejandria, a husband and father who enjoys being part of tribes that form with every theatrical production. There haven’t been so many shows that I couldn’t name them all and so I shall. The first was Oliver in the Philippines where I played the titular character. The first in Canada, in Windsor, was Jesus Christ Superstar where I was Annas, a priest. I’ve done this role twice, 15 years apart. Next was the Captain of the Inquisition in Man Of La Mancha. After that was the first of three Joseph And The Amazing Technicolour Dreamcoat productions where I played Judah (Benjamin Calypso) in the first two. I was the Lion in The Wizard Of Oz where I met Matt Froese - a castmate here - 14 years ago. Next came Miss Saigon at the Cleary where I played the bar-owner in Bangkok. After the second Joseph/Dreamcoat, my first show with my daughter Sadie, I was Schroeder in You’re A Good Man, Charlie Brown. Next came Mr. Stride and a newsboy in Jekyll And Hyde, and then I was an Irish priest in The Best Christmas Pageant Ever, my second show with Sadie. The King And I came next where I met Michael Potter in my third show with Sadie. Next came Shrek The Musical (King, Duloc guard, Grumpy the elf) with Sadie as young Shrek, then Sweeney Todd (Mr Fogg, ensemble), then Fiddler On The Roof, as a Russian thug. I played a pirate in Korda’s Peter Pan(to) to Sadie's Nana the dog. I was Bart Simpson in Mr Burns - A Post Electric Play, and then once again Annas the priest in Jesus Christ Superstar at the Chrysler Theatre last year. My most recent was as Miss Beginagin in Annie Of Green Gables Get Your Gun, the most recent Korda panto where Sadie was stage manager. That’s all of them, and now this. Stop Kiss is my first non-singing role and Sadie's second as a stage manager. You've played a diverse range of roles, clearly. What can you tell us about Detective Cole and how he fits into the story and themes of Stop Kiss? Detective Cole is the character written to set up the environment in which the later (even-numbered) scenes take place. His conversations with Callie hint at the culmination of the flirtation and budding friendship happening between Callie and Sara in the scenes preceding his. He is not unsympathetic but his job requires a certain coldness and “just the facts, ma’am” demeanor. He is annoyed that Callie is not more forthcoming but he is aware that she thinks he will prejudge her relationship with Sara when she herself is not sure what that is yet. I modeled the performance of his character on Detective Marcus Bell in the TV series Elementary. One of the major themes of Stop Kiss is that love can take various forms, not all of which are recognized even by the people who are experiencing them. What do you hope audiences learn from this play about love? That love really is where you find it. Another good example, which to me has some parallels with Callie and Sara, is the story of how the comedian Tig Notaro met her love. Now, neither Callie and Sara identify as lesbians but that is not the point. Ms Notaro’s wife is heterosexual. A deep friendship was struck and there was no grand seduction per se. She fell in love with Tig because of the person she is and she couldn’t bear to be apart from her. And such is love. There is an openness to serendipity in your example that really seems to resonate with what we see in Stop Kiss. If you were asked WHY someone should see this play, how would you answer? You should see this play because of its novelty. The device (if that’s the proper term) used is one that requires intellectual time-travel, with an accompanying see-saw of emotions where you see a fresh budding unconventional romance (for those who must have conventions) interrupted by a not-so-inconceivable nor uncommon tragedy, and then enduring friendship which manifests in acts of unspoken commitment and what must truly be love. The way the actors perform all of the above is so casually real that one feels like the proverbial fly on the wall as it unfolds. I don’t get the title yet though. I look forward to that moment. Photo by The Headshot Company
 AUSTIN (Joey Wright)
“There’s nothing real down here, Lee! Least of all me!” Imagine growing up with an older brother who seems to be better than you in every way, at least in your father’s eyes. How do you distinguish yourself? How do you crawl out of his shadow? Well . . . maybe there’s a way to show people you’re actually better than him. Austin devoted his life to succeeding by the standards of the New West. He attended an elite Ivy League university on the east coast, far from his childhood home. He got married and started a family. Austin became the New West’s capitalistic Protestant ideal: the diligent, educated, workaholic who drives and consumes and reproduces. So, Austin fits in. Or does he? Does all of his work and sacrifice matter? Is he really accepted? Does he really want to be? Austin’s relationship with Saul Kimmer shows that maybe all he’s done is turn himself into a useful tool for others, an object without dignity. That hurts, because Austin is Abel – the obedient son of his figurative New West father, Saul, whose favour he seeks, who represents the mainstream success and acceptance that Austin craves. What else does he have? He’s already rejected his biological father, and with him, the Old West. We come to learn that Austin is neither as stuffy nor as satisfied as he appears to be – even to himself. He knows that he’s supposed to be grateful for the life he has, but he isn’t. He knows he’s done everything he can to be “normal”, but he still doesn’t feel it. Increasingly, fitting in feels like a trap. The façade of normality is beginning to crack and behind it Austin sees what he’s really worked to become: artificial. Austin sees his future in his mother, though he isn’t quite ready to admit that. His relationship with his mother is psychologically distant, as opposed to the physically distant relationship with his father. She exists to fill a role, which she plays dutifully. And he plays his role in relation to her. But they have no deep connection, just a shared history and a shared script. She has fully embraced the artificiality demanded by the New West, and Austin finds himself falling into her routine domesticity, playing her role, when Lee is around. So Lee’s presence forces Austin to confront himself with what he really wants, to face the deep ambivalence that’s been eating away at his soul. He resents Lee for being like his father, for not fitting in, for his criminality, for being an outsider. But he envies Lee for the same reasons. Lee has an authenticity and freedom that appeals to his deepest nature. About JOEY WRIGHT Joey Wright is thrilled to be making his Post Productions debut as Austin in True West. For the last five years Joey has been performing on stage and behind the scenes, most recently as Ed in Evil Dead: The Musical. Other recent roles include Herdsman in God Of Ecstasy, Roderigo in Othello, Euelpides in The Birds, Padme in Star Warped, and Man in Hard Hearts. He has had the opportunity to work with some of Windsor's finest artists and cannot begin to explain the importance of everyone's role in local theater – though if you ask him, he will try. (Photo credit: Martin Ouellette of Churchwood Pictures, with Kieran Potter) |
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