Play Details

Reality Curve Theatre presents Bug by Tracy Letts.

Set in a seedy Oklahoma City motel room, the play centers on the meeting between Agnes, a divorced waitress with a fondness for cocaine and isolation, and Peter, a soft-spoken Gulf War drifter introduced to her by her lesbian friend, R.C. Agnes stays at a hotel in hopes of avoiding her physically abusive ex-husband, Jerry, who was just released from prison. At first, she lets Peter sleep platonically on her floor, but not long after she promotes him to the bed. Matters become more complicated as Jerry eagerly returns to the woman he loves to beat her up, expecting to resume their relationship. On top of that, there’s a hidden bug infestation problem that has both Agnes and Peter dealing with scathing welts and festering sores—which has Peter believing this is the result of experiments conducted on him during his stay at an army hospital. Their fears soon escalate to paranoia, conspiracy theories and twisted psychological motives.

Directed by Stuart Aikins
Starring Lori Triolo, Paul Piaskowski, Rekha Sharma, Aleks Paunovic, and Andrew McIlroy

Bug is now on at The Annex (823 Seymour Street) in Vancouver until September 18th. Tickets are available through RealityCurve.com

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

The post “Bug” at The Annex appeared first on Biz Books.

Here’s a recap of some of our best Biz moments in 2015.

MOVIES

Among the films we supported this year were The SpongeBob Movie: Sponge Out of Water, Project Almanac, Hot Tub Time Machine 2, Miss Julie, The Riot Club, Mr. Holmes, Terminator: Genisys, Mission: Impossible – Rogue Nation, Paranormal Activity: The Ghost Dimension, Scouts Guide to the Zombie Apocalypse, Daddy’s Home, and The Big Short.

Thank you to our loyal customers for dutifully entering contests and attending advance screenings.

INTERVIEWS

2015 brought us more interviews than we’ve ever had before!

We spoke to Nimisha Mukerji, Brendan Taylor, Jonny Weston, Tom Kenny, Crazy8s 2015 filmmakers Caitlyn Byrnes, Jem Garrard, and Mo Soliman, S. Siobhan McCarthy, Evan Frayne, Christina Wells Campbell, Pamela Wise, Jay Brazeau, Rachel Peake, Jeff Seymour, Lochlyn Munro, Michelle Muldoon, Lori Triolo, Peter Skagen, Lisa London, Rebecca Coleman, Peter New, Esther Cohen, Tyler Labine, Julie Casselman, Brandon Bate and Joel R. Butler of Eurydice, Morgan Churla, Riley Qualtieri and Mark Vandenberg of Hunger Games: The Musical, Emilio Salituro, Shauna Johannesen, Katherine Monk, Angie Burns, Kim Larson and Matthew Simmons of Smoke on the Mountain, Christopher Chacon, Rebecca Lee, Sara Bynoe, Martha Ross, Tiarra Sulyk, Jessica McLeod and Athena Russell of Bitchpop Productions, Chris Lam, Anita Adams, Sam Mitchell, Byron Abando, and Jamieson McCormack of Love Musically, Robyn Wiener, David C. Jones, and Christine Quintana.

EVENTS

We were also out and about supporting industry events such as the Crazy8s 2015 Gala, our own May Play Sale and Pop-Up Store and Where There’s Smoke: An Encounter with William B. Davis, the launch of Crazy8s 2016, and theatre productions like Laburnum Grove, Glengarry Glen Ross, The North Plan, and Heathers: The Musical.

All in all, we had a blast sharing all of this with you and we can’t wait to see what 2016 brings!

Happy New Year from all of us at BizBooks.net!

The post The Biz Books 2015 Year in Review appeared first on Biz Books.

We have interviewed Lori Triolo in the past, but with The Cold Reading Series underway for another summer – and in a different way – we thought this would be the right time to catch up and find out what’s new.

________________

What is the mission of The Cold Reading Series?

The Cold Reading Series (CRS) is committed to supporting and developing the talents of Vancouver’s story tellers – writers, actors, and musicians alike – by providing a forum where they can present their craft to a live audience and get instant feedback.

How did The Cold Reading Series get started?

In 1993, Angus Fraser arrived back to Vancouver from NYC with a mission. He’d been attending the Naked Angels event called Tuesdays at 9, which was a venue for NYC playwrights to hear a couple of scenes of a new play they were working on out loud in front of a live audience. The scripts were all cast with whoever showed up, which happened to be some of the greatest actors in NYC. The feedback was instant from the audience reactions in the moment. I had just graduated from The Neighborhood Playhouse School of the Theatre and would attend these gatherings as well. When I moved to Vancouver I met Angus Fraser and he told me he wanted to bring this event here. I loved the idea as I had always thought it was important to continue to create your own work. Sitting idle waiting for the phone to ring was nothing I had been taught growing up in NY and having the best mentors I could ask for. Angus Fraser partnered up with the incredible talent that is Kathy Duborg, and together they hosted this amazing weekly event giving writers and actors of stage and screen the support to develop new works. Even though the city was booming with film and television work, we all understood the value of continuing to push each other to grow. The industry paid our bills but the indie community support fed our creative souls. We’ve presented the event in many different venues; the first being a small office at the old Praxis Centre for Screenwriters offices. Patricia Gruben was a tremendous support then and is still a leader in giving writers the opportunity to develop their screenplays with the best in the biz. I’ve been lucky enough to work alongside her, casting the selected screenplays for many years.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

For those who haven’t attended before, what can they expect?

At the CRS we cast brand new scripts on the spot and watch them fly in front of a live audience. Local musicians are also invited to share their work-in-progress in the “unplugged” musical segment of the evening. Every live reading ends with a party in the Lounge where you can meet up with other artists over a cold beer. The CRS is the place for Vancouver’s artists to meet one another, share their work, and create more.

How can people get involved with The Cold Reading Series and find out more about it?

They can come on down to The Backstage Lounge on beautiful Granville Island the 2^nd Monday of every month throughout the Summer and let us know they’re interesting in getting involved as an actor, writer or volunteer. The CRS has been a volunteer run organization since its inception and we rely on the community to step up and take their turn as leaders. You can check out our website for more info. There’s an official volunteer form here.

In your experience of reading countless scripts across film, television, and theatre, what are the three things that every great script has in common?

In the 12 years I have been producing the CRS, I think it boils down to one thing – being economical with dialogue. Most scripts I read are way too overwritten and/or painfully elementary and obvious. I think the toughest aspect of writing is figuring out a way for the characters to communicate without being so damn obvious. It drives me crazy reading things that are so on the nose. You’ve figured out the whole story in the first few pages or you have no desire to get to the end of the story because they just vomited on the page. Writing great dialogue is time-consuming. There is always a better way to communicate something. You have to want to have the patience to be excellent.

As far as scripts that have been produced for film and television, which writers and specific scripts have especially resonated with you?

There are quite a few. I’ll keep it simple by talking about the first season of Mad Men. I remember how excited and impressed I was by the scripts. I thought Matthew Weiner, Andre and Maria Jacquemetton were genius. The dialogue was very economical and so much of the story was executed by subtle behaviors.

Sanford Meisner used say, “An ounce of behavior is worth a pound of words.”

I couldn’t agree more.

Even more thrilling was that Maria Jacquemetton was working at Vancouver Film School and attending the CRS regularly, having her scripts read, when she and her husband got the news that their show had been greenlit and they were heading back to Los Angeles. Little did we all know the phenomenon that would be Man Men.

What other projects are you involved with at the moment?

I’m finishing up post production on a feature film I produced with some incredible folks last Summer. The writer/director/editor is an overwhelming talent I have had the pleasure of mentoring through the acting side of things for the past 4 years. We aim to hit the festival market this coming year.

I’ll also be on stage this year in Rapture, Blister, Burn being produced by Mitch and Murray Productions and directed by Aaron Craven. While performing Rapture, Blister, Burn, I’ll be in rehearsals for my buddy Stephen Guirgis’ play, The Motherf***er with the Hat, which goes up in January.

As always I continue to guide all sorts of folks through Fitzmaurice Voicework® and FitzMeisner techniques. I’m thrilled to be able to offer some healthy alternatives to actors and anyone who is interested in being a better communicator.

What is the current state of the film, television, and theatre industry in Canada as you see it?

I can only speak from my point of view from the BC industry. The film and tv work has certainly picked up since the Save BC Film campaign. My fear is that whenever the American business comes back strong we get very comfortable around here and the drive to continue to create indigenous work seems to decline. Although, I’m not sure that’s what’s happening right now. People seem very motivated to keep creating. My deepest wish is that we all really push each other to create better projects. I’m tired of celebrating mediocrity. I say the same thing at every CRS event and the audience seems to agree. We just need to get more courageous about telling people the truth. I’m not one to pat someone on the back just for getting something done. I believe that it is extremely difficult to write and produce a great script but I don’t think creating great art ever comes easy.

Where can we find out more about you?

As an actor/producer at IMDB.

For class info, on Facebook.

And my soon to be launched website – LoriTriolo.com.

Actors, writers, and directors have felt your influence through the Cold Reading Series, your acting classes, and your work on projects in Vancouver. What would you like your legacy to be in Vancouver’s creative community?

This is a question I ask my clients all the time. I do think it’s important to contemplate what you want your legacy to be.

To me it’s like when an actor breaks down a script to find their “Super Objective”. Once you know what that is, you have a reference point to see if you are behaving like a person that actually wants to achieve that on a day to day, moment to moment basis. I want my legacy to be that I was a master communicator. Through my own healing I helped others truly have the courage to find their own voice; to feel like they have the skills that empower them to be a better artist and human. Larry Moss, one of my many mentors, always said that our job as artists is to teach the world how to be more human. I’ve felt that in my core for many years. As a young acting student at The Neighborhood Playhouse I thought the work we were doing would save the world. Every day we were taught what it means to truly listen and to be authentic; to tell the truth of our feelings through our craft and that that the truth would set us free. Stella Adler said we are artists because our souls aren’t used up enough by life.

I would like to be remembered for helping others guide the world to be more human and to honor, as well as feel the fullness of their own experiences so that they may continue to evolve into better versions of themselves.

________________

Our thanks to Lori Triolo for speaking with us!

________________

Recommended Reading

[bscolumns class=”one_third”]

Sanford Meisner on Acting
Sanford Meisner and Dennis Longwell

[/bscolumns]

[bscolumns class=”one_third”]

The Intent to Live: Achieving Your True Potential as an Actor
Larry Moss

 [/bscolumns]

[bscolumns class=”one_third_last”]

The Art of Acting
Stella Adler

 [/bscolumns]

[bscolumns class=”clear”][/bscolumns]

The post The Biz Interview: Lori Triolo appeared first on Biz Books.

Tell us a little bit about The Oblivion Series: A (Not So) Girlie Show.

You mean my ‘magnum opus’? Haha! My show is a collection of characters and stories that I’ve been developing over the past few years. It was born out of me wanting to perform material as an actor that I felt really jazzed about. I am a longtime Cold Reading Series participant and one year Lori Triolo dared me to join in on the “Actor’s Challenge” – where actors write their own stuff and have it read at the event. Terrified, I took her advice. Much to my surprise it was quite well received, and from there the show slowly started developing a life.

What can audiences expect from The Oblivion Series: A (Not So) Girlie Show that will make for a unique stage experience?

I’d say that audiences can expect first and foremost to be entertained and to laugh. Also perhaps to be inspired, moved and turned on in a new way. I don’t mean that in a naughty way, but in an “ideas” kind of way. A lot of the ideas in the show seem to resonate with people. I imagine it makes for a unique stage experience because it’s written by an actor – not a professional playwright – so maybe that’s a different sort of thing right out of the gate. Also it’s not structured as a traditional “play” but really as a fun wild romp of a live “show”.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

Can you briefly walk us through your creative process of this incarnation of the show – from the early stages all the way to opening night?

That’s a funny story. Basically my co-producer and co-star Lori Watt (who had seen the show in LA) called me up one day and said “hey I have a friend starting a Fringe Festival on the island and how would you feel about doing your show there in June?”

I said yes and we got together to read the monologues, deciding it would be fun to do it just the two of us. We thought originally that we would self-direct (which is hilarious in retrospect) and so began rehearsing at Lori’s place. After a bit we thought: maybe a director friend could look at this just to give another p.o.v., so we contacted Linda Darlow, who agreed to “take a peek”. From there it kind of snowballed into the Zone Festival with Jay Brazeau adjudicating, which was a very fun and encouraging experience. That was actually the moment I thought we were onto something with this new version. The audience feedback was clear.

Now, since joining forces with Alison Araya – who has really amped it up with what she’s bringing to the table – it really feels like it’s up and running with a clear vision and in a great place as a production. The creative process in a nutshell I suppose has been aligning with like-minded people who love this wacky material and are really bringing themselves to it and are showing up in a big way. Oh and HAVING FUN. I should have said that at the beginning. The creative process has mainly been about having fun with this.

The Oblivion Series: A (Not So) Girlie Show has played in a few different cities now. How has it evolved over time and where do you see it changing in the future?

It has evolved a lot. What a journey! Primarily I’d say the show is now finding it’s correct rhythm, and has become a lot funnier. I credit Linda Darlow for this immensely with her direction. Somehow she has elevated it to a wonderfully absurd yet honest and hard-hitting place, if that’s possible to imagine. The earlier iteration in LA was treated a lot more seriously. That’s the interesting thing about creative collaborations: so many possibilities to explore. Also there are a few new pieces in this show that weren’t in LA, and I’ve dropped a couple of old pieces. That’s the beauty of having titled it a “series” – it can always evolve and change as I write new bits. Probably that’s how it will continue to go in future.

What has been the biggest highlight for you with The Oblivion Series: A (Not So) Girlie Show so far?

Two things: #1: Debuting my show in L.A. at the Stella Adler Theatre. That blew my mind and was one of those ‘pinch me’ moments. Huge gratitude to the L.A. Women’s Theater Project for hooking that up. I read Stella Alder’s book on acting back when I was training and her words resonated with me more strongly than most teachers. She is one of the greats – and an original. I never thought I’d be in her theater with my original work. I still get goose bumps thinking of walking around her hallways and hanging out in her speakeasy. I’m pretty sure I could feel her presence in there. I think that’s what they call “walking on your dream”.

#2 biggest highlight has been working with Linda Darlow and the ladies of WaWaYa Productions. It’s simply a joy.

What were the biggest challenges for you in developing this production and how did you deal with them?

The challenges have really only been #1: getting out of my own way and just getting out there with my work, taking the risk, and #2: aligning with the right people to collaborate with. How I dealt with that is by #1: saying yes when there was interest in my show and basically throwing caution to the wind, despite my fear or doubts, and #2: trial and error, and getting clearer on my own vision over time. I sometimes joke that I’ve been work-shopping this show in public, and now it’s finally hitting its stride after all the live experiments.

What advice do you have for other performers who want to develop or act in their own show?

DO IT! Stop thinking about it and actually do it! If you are remotely inspired and have some ideas: write them down, try them out, read them aloud to people, get up on a stage and give it a whirl! I was so scared when I first started with this material and now I can honestly say it is one of the most rewarding and exciting experiences of my life.

The Oblivion Series: A (Not So) Girlie Show is very adult-oriented and draws from your own life. What was the process like of writing from your own experiences? How close does the final version match up with the original life experiences that they were drawn from?

I love how you say “very adult-oriented” – sounds so racy and dangerous! The process of writing from my own experiences is very liberating and empowering. I say in the synopsis that the characters are coming to terms with their lives, but secretly I think I am. There’s something about owning things out loud in front of people. Making them “characters” and putting them on a stage gives the freedom to poke fun at myself and to be creative about how I tell the stories. Hopefully I’m offering a somewhat universal take on the themes I’m exploring, and that the characterizations allow for that detachment that can then resonate more deeply somehow. I like to leave it up to the audience to guess how closely the final version matches up to reality. A girl’s gotta have some privacy. Things are certainly embellished and altered for dramatic (and comedic) effect.

What are the advantages of writing roles for yourself and acting in something that you’ve written? Are there any challenges?

The advantage is that I already know the characters because I wrote them. I already feel a sense of freedom and confidence because it’s from me. It feels natural right out of the gate to speak the words. There’s not that same searching and discovery process that comes from taking on a role written by someone else. There is still discovery, it just starts from a totally different place. The challenge has mainly been in marrying the p.o.v. of my director about the characters with my own, and allowing space in my writer brain for that much needed director p.o.v. Also it’s sometimes hard to separate my writing and acting brains, when they are both going on at once. But that’s a challenge I am thoroughly enjoying.

What were your reasons for getting involved with acting and writing to begin with?

Reasons? Ha! I’m not sure reason had anything to do with it! I have been making things up and getting people to watch me since the age of four. It’s just something I’ve always done. That’s from the acting side of things anyway. I guess there is a reason I got more involved as a writer these past years, and that’s because I wasn’t feeling entirely satisfied as an actor. I love performing but I only ever sometimes felt like the material was rocking my world. I needed more, and writing has certainly filled that hole.

Again I go back to what Lori Triolo preaches at the CRS: “…if you’re not satisfied with the work you’re getting, create your own!”

Ba-da-boom.

Who are the performers, writers, or directors that have been influential to you?

Along with those already mentioned… Eve Ensler, Meryl Streep (it’s not cliché, she’s a genius!), Robin Williams, Sandra Bernhard, Sacha Baron Cohen, Stephen Colbert, Marilyn Monroe, Ani DiFranco, Bob Marley and ummm, Madonna. To bring a local flavor I’m gonna go with Kate Twa, Andrew McIlroy, Lynne Stopkewich, Rob Stewart, Kris Elgstrand, Dylan Akio Smith, and Tony Pantages.

Are there any books or specific authors that have been influential to you so far in your creative journey?

Oh goodness there are so many! Off the top of my head, in acting school my favorite reads from a training point of view were Stella Adler and Uta Hagen. Also Michael Caine’s Acting in Film. Tina Fey’s Bossypants is SUCH a great read. I read a lot of non-fiction, quantum physics and healing stuff. At the moment I’m going between Joanna Macy’s Active Hope: How To Face The Mess We’re In Without Going Crazy, and Russell Brand’s My Booky Wook. Also I hear Linda Darlow has a new book coming out. That’s gonna be a must-have for every actor.

What can you share about any future projects that are in development?

I’m playing with ideas on how to translate some of this existing work into short film format. On the live performance front I’ve recently developed some 5 minute comedy sets that I’ve been performing at local comedy venues. I plan to elaborate on this, and am slowly but surely developing new material for an hour long show.

The Oblivion Series: A (Not So) Girlie Show is now on at Studio 1398 (Playwrights Theatre) Granville Island. For tickets, please visit: Oblivion.BrownPaperTickets.com

The post The Biz Interview: Justine Warrington of The Oblivion Series: A (Not So) Girlie Show appeared first on Biz Books.

What was were the elements that drew you to be part of this production?

I was studying with my mentor Larry Moss and did a scene from Danny. I connected to Danny in such a colossal way that I wanted to know more about it and tell his story. I approached Jason Goode, our director, after we worked together on a short film he directed me in and the seed was planted. I was quite scared of the play and the role. Four years later, Jason and I reluctantly and excitedly dove into the deep end.

Can you share some of your creative process in preparing for the role from the initial planning of the production all the way through to opening night?

This is the first play I have ever done so to be honest, I’m working with one of the best actors in the city – one of the best actors I know – Lori Triolo. Most of the work I have done is asking Lori about situations and process. Jason Goode, the director of the show, has also been amazing in helping shape/shift into who Danny is. They have been great partners in guiding me through this amazing ride.

Are there any books or specific authors that have been influential to you so far in your creative journey?

One my favourites is On the Road by Jack Kerovac. There’s also The Tao of Muhammad Ali and The Tao of Bruce Lee, both by Davis Miller. The Vagabond nature of On the Road and exploring life, love and the world. Plus Davis Miller tells the story of both of these amazing physical specimens who have accomplished so much that even their unique Tao would still have made them one of the most influential people of this century. So from growing up in a boxer’s family, boxing was the first thing I knew. Also, playing in a band in junior high where music was a big part of growing up also. On top of that, my mother is a travel agent so I had the opportunity to travel and see the world. With the help of Kerovac and Miller they helped me get closer to finding myself.

What were the biggest challenges for you as an actor in preparing for this production and how did you deal with them?

One of the biggest challenges has been in finding the seams in the character, Shanley wrote a exceptional piece of work with so many layers, and it’s been the script analysis of finding the colors in the play. It’s 80 minutes of 2 people on stage. Plus getting into the Danny character who is a powerful man and the play is physically and emotionally demanding. Hitting the boxing gym and doing a proper emotional warmup before hitting the stage is a must.

What can you share about any future projects that are in development?

I’m working on developing a couple of series and a reality show. Looking forward to a second season on Arctic Air and a screening of a film I was in, This Means War with Reese Witherspoon in L.A. on February 8th – and pilot season for a few months in L.A.

Danny and the Deep Blue Sea is now on at Pacific Theatre. Visit PacificTheatre.org for details.

The post The Biz Interview: Aleks Paunovic – Actor in “Danny and the Deep Blue Sea” appeared first on Biz Books.

What was were the elements that drew you to be part of this production?

I am an enormous fan of John Patrick Shanley. I have been mounting productions of his plays for 20 years and I had NEVER worked on the character of Roberta. After Jason (Goode) and Aleks (Paunovic) approached me to be a part of this production we sat down to read the play together. It became clear that we needed to put this sucker up. I thought it was a gift I was being given. Not only to explore “Roberta” but to work with two talented men that I barely knew. They both have enormous hearts were so committed to telling this story that I would have been crazy not to participate. I also have always wanted to work at Pacific Theatre and thought this was the perfect introduction to their world.

Recommended Reading The Perfect Stage Crew
2nd Edition Click a cover for more details Empire of the Son Ignite: Illuminating Theatre
For Young People

Can you share some of your creative process in preparing for the role from the initial planning of the production all the way through to opening night?

For 10 years, Larry Moss hammered into my head that our job as actors was to teach the world how to be more human. That we must be willing to expose ourselves and ultimately pay a price for the work we do. That is something I understand to my core. I grew up in NY and had a theatre in The Bronx where this play takes place. I KNOW “Roberta’s”. Most of the prep came in the form of script analysis. Connecting all the dots. I love doing this kind of detective work. I have trained with many incredible teachers over the last 25 years. I always bring my practice with Sanford Meisner into rehearsals. Being in the moment, listening, staying present, always having an opinion. I also do very strong intention work.

Are there any books or specific authors that have been influential to you so far in your creative journey?

Of course I LOVE Sanford Meisner on Acting. I read it when I was 18 and decided to go study with Meisner the next year. I knew this technique was really right for me. I think it’s good for everybody. I can’t imagine any actor starting their career without this very simple and vital work. Meisner is magical and I believe the technique can change the world.

The Fervent Years by Harold Clurman had an enormous influence on me as well. I always wanted to be around in 1930 when The Group Theatre was born. I think I would’ve fit right in.

While preparing for this role I read Adler on Ibsen, Strindberg and Chekhov. Might sound like a strange choice but I love to be reminded of where we came from and what was important during the dawn of modern theatre. Nothing really changes.

I try to read a play a day (or at least a week) and I am a big fan of Biographies. My most recent read was Drama by John Lithgow who is a hero of mine. Seeing him on Broadway in M. Butterfly changed my life at 17 yrs of age.

What were the biggest challenges for you as an actor in preparing for this production and how did you deal with them?

I think my biggest challenge was/is finding the physical stamina to bring “Roberta” to life every rehearsal and now throughout the run of the show. The play is highly emotional and physical. Aleks and I really give everything we’ve got to these two broken/beautiful characters which can leave me pretty depleted…so, I try to take care of myself and get a lot of rest. BUT, it’s the price I pay to do what I love and tell the right story to help people find/remember their own humanity. I wouldn’t have it any other way. I am blessed.

Danny and the Deep Blue Sea is now on at Pacific Theatre. Visit PacificTheatre.org for details.

For more of Lori, check out her recent appearance on Urban Rush with Danny and the Deep Blue Sea co-star Aleks Paunovic.

The post The Biz Interview: Lori Triolo – Actor in “Danny and the Deep Blue Sea” appeared first on Biz Books.

What inspired you to take on this production?

Aleks Paunovic and I had a great experience doing two short films together (Ducks and The Hitchhiker). We got along really well and I think we brought the best out of each other. Not long afterwards, in 2006, Aleks brought me the script for Danny and the Deep Blue Sea and very generously suggested we do it together. I wasn’t familiar with the play, but when I read it I immediately fell in love with it. I had wanted to direct a play for a while and it felt like the perfect production for me. I would still call it my favourite play.

Can you briefly walk us through your creative process for this production, from the early stages all the way to opening?

People familiar with the play will know that it’s quite taxing for the actors: 80 minutes, no intermission, the two of them on stage the whole time. And they have to go all the way: to the lowest depths of despair, to the highest peaks of relief and joy, and everywhere in between. So I feel that part of the process for me creatively, is managing just how hard the actors go and mostly encouraging them through the process. I think it would be easy to burn out rehearsing this play and to lose the energy and joy that doing this play can bring to an actor. And it would be easy to really tax the actors emotionally and physically by over-directing it. So besides all of the usual things a director does, I’m also paying attention to that.

Are there any books or specific authors that have been influential to you so far in your creative journey?

Books have been really important for me. I didn’t get any formal training in this besides the occasional one-off class and I don’t work in film or theatre on a regular basis, so I read (and dream) a lot on the subject. Some key volumes for me:

William Ball’s A Sense of Direction
Uta Hagen’s Respect for Acting
David Mamet’s True and False, The Three Uses of a Knife, and On Directing Film

And, frankly, Pacific Theatre as a place and community for artists has been key. When I first moved back to Vancouver a few years ago, I was lucky enough to get cast in a non-professional show there. That experience connected me to Ron and the staff and the cadre of artists that hang around there. I took acting classes there and did some more non-professional shows there as well. I generally hung around there when I could and most of my films, and now this play, have some sort of connection to that place.

What were the biggest challenges for you as a director in developing this production and how did you deal with them?

Fear was our biggest challenge. Aleks and I made a number of attempts at mounting the production, but we always found a way not to do it. Frankly, we were both terrified. The material is quite daunting and neither of us had done a play before (though I had acted in some non-professional productions). So the whole endeavour was very intimidating.

Finally in late 2009 we faced our fears and decided that we were going to do it no matter what. And Pacific Theatre had an opening the last week of August, so we booked it. Thankfully, Lori Triolo jumped in with us to play the role of Roberta. With Aleks and Lori, it felt like perfect casting and the production, despite only 4 shows, was successful. (Facebook was instrumental in helping us find an audience during a one-week run.)

And people responded really well to it. Ron Reed, the artistic director at Pacific Theatre, liked the show and asked us to put it in 2011-2012 season. We jumped at the chance.

What can you share about any future projects that are in development?

I’m developing a couple of film projects with my producing partner, Dylan Jenkinson. (We work under the banner Jenkinson/Goode Productions.) I don’t have any plays in the works, but after Danny finishes its run, I’ll start dreaming and scheming again.

Danny and the Deep Blue Sea opens at Pacific Theatre on January 20th, 2012. Visit PacificTheatre.org for details.

The post The Biz Interview: Jason Goode – Director of “Danny and the Deep Blue Sea” appeared first on Biz Books.