June 2009

The Creators: One-on-one with Emil Sher, author of Mourning Dove and Hana's Suitcase

Among the many excellent productions in Vancouver in 2008, Pacific Theatre’s staging of Emil Sher’s Mourning Dove touched my heart and mind most deeply. I loved the play and the restrained sensitivity with which the writer addressed the unfolding of a tragedy that no parent should ever have to experience. When I realized that Sher was also the author of Hana’s Suitcase, another very moving play that I had recently read, I was compelled to read more of his work. These experiences raised a whole lot of questions that I wanted to pose to the playwright. To my delight, Emil Sher generously agreed to be interviewed for “Creators and Communicators,” the section of  Theatre Seen that highlights the creative artists that “make theatre.”

One-on-one with Emil Sher

Emil, I note that your undergraduate degree from McGill was in English and that you taught English in Botswana before returning to do an MFA in Creative Writing at Concordia. Was it your experiences in Botswana that stimulated your desire to write or were you compelled to write from childhood?

Initially, I had contemplated becoming an actor, and focused on theatre as an undergraduate at McGill. But during my time there I became increasingly drawn to the written word, and wrote a fair bit for the McGill Daily, the school newspaper. And as much as I enjoyed journalism (I still find creative non-fiction very gratifying), there is something about the latitude of fiction that always appealed (and I use the word ‘fiction’ loosely to include work for stage and screen). I went to Botswana naively believing I would have time to write, though I wasn’t quite sure what I was going to write about (never a good start for a writer). I soon discovered that teaching is a craft like any other, and required substantial amount of time, energy and care if I was going to do it right. I knew the only way I would be able to write meaningfully was to immerse myself in an environment where I would have to write on a regular basis, and graduate school was the ideal opportunity to do just that. I focused on fiction (my thesis was a collection of short stories) and made a decision upon graduating that I would write in different genres, as the spirit moved me and as opportunities surfaced.

You have written plays for both radio and stage. Could you comment on how your approach differs between writing for radio - theatre of the mind - versus a play that is intended to be physically staged?

Every genre of writing comes with its own toolbox, and I’m still learning how to take advantage of the tools at my disposal. Indeed, I’ve come to see the writing life as a lifelong apprenticeship. What I love about radio is how the narrative is distilled to sound, or silence: a voice, a sound effect, or a moment when nothing is said, when nothing is heard, and yet it is a moment that speaks volumes. Radio has been called “theatre of the mind” for good reason, and it insists that the audience actively engage with the story. Engaging an audience or a reader is essential to how I write, regardless of the genre or the audience I am writing for (which is sometimes as young as pre-schoolers). It is this objective that dictates my approach to radio dramas and stage plays. With radio, I’m more conscious of how dialogue is the foundation upon which the story rests. There is nothing else to create the world of a radio play but for sound, human or otherwise. And so the challenge is to make sure each word and sound can be justified. The intimacy of the medium demands it. With a stage play, I feel the text is but one part of a larger narrative. The set, the lighting design, the very presence of an actor significantly alters our interpretation of the story being told. When I write a play I’m mindful of the varied elements that will ultimately shape it, and am inspired by the collective energies that fuel a stage work. And while it takes a team effort to create a radio play, the process feels more contained, compared to the open-ended development of a stage play, which is often defined – and enriched – by the detours that surface during roundtable, workshop discussions about the text, generating questions that challenge me to justify my creative choices, revisit them, or reject them.

Have you ever directed any of your own plays?

I’ve yet to direct one of my own plays, and feel more drawn to directing a film. I’m especially drawn to the editing process. I said as much to a talk I once gave to a group of theatre students, and one student remarked that editing is not unlike writing, in that it speaks to the importance of structure. It’s often said that writing is rewriting, and that’s not dissimilar to sitting in an editing suite, rearranging a narrative so that it’s a structurally sound as it can be.

As a working contemporary Canadian playwright do you always present a completed script or do you ever work with a director as a dramaturge to massage and shape the script on its feet?

When it comes to a new play, I offer directors a completed script insofar as it’s a draft we can build upon. Initially, the conversation is between myself and the director, who may or may not double as a dramaturge. In some instances, the three of us – playwright, director, dramaturge – have discussed a script in its formative stages. That process is further enriched through workshops, where the script is given a reading by actors who may have their own insights to offer. I see this process as very fluid: changes are made to the script that usually stem from questions posed by the director, an actor, or myself. Scenes are dropped, or rearranged or cut. It takes several drafts before I’m satisfied, and often there’s a substantial rewrite somewhere along the way. My guiding principle when developing a script with collective input can be distilled to a simple question: “Does it serve the story?” Not an actor’s ego or a director’s agenda, but the story.

Or from another perspective: When you hand over your work to a director do your scripts feel complete? Or do you find that as you watch them unfold, there are changes you want to make or other stories that grow out of what you see on stage?

Is a script ever complete, or completely finished? There comes a time when the creative process has run its course and it’s time to let go. There’s always the liability that a script can take too long to gestate, that it can be overwritten and overworkshopped. That said, I have made script changes from one production to the next for all my plays. There is always a word or a phrase that can be tweaked or parsed, and I find this aspect of playwriting very gratifying: the script isn’t static. It can become stronger with each successive staging, and thus become a different play each time.

When the sun shines in Vancouver, there is little that can beat a leisurely lunch on a patio, looking out over sparkling water. This past week I took the opportunity to lunch with friends on two restaurant patios in Yaletown, on the north side of False Creek.

Provence Marinaside
1177 Marinaside Crescent Vancouver.
Ph: 604-681-4144

The first lunch was at Provence Marinaside, on Marinaside Crescent opposite - strangely enough- a marina.  It has been a while since I last dined at this restaurant, and all previous occasions, lunch or dinner have somehow been inside. But here I was, shaded from direct sunlight but feeling its warmth in the air, sipping on a glass of rosé, while I waited for my friend to join me.

There were many items on the menu that appealed, but I decided to try the seared sablefish, served with grapefruit vinaigrette, warm vegetable salad, fresh basil and fingerling potatoes. It was quite delicious. My companion's lunch was equally pleasing. I  have found the food at Provence Marinaside to be consistently good and the prices reasonable. 

Last night I made my way gingerly along a dusty, construction-damaged Granville Street, to the Commodore Ballroom where Vancouver's theatre community gathered to celebrate another year of amazing theatre.  It is always interesting to see how the nominations and the final award winners stack up against what I thought during the year of play-going, and  what details I can remember of the many productions. As well, the productions nominated are only a portion of the many shows staged here - Vancouver has a great theatre scene, and often I find that there are more things available to see than hours to see them in. Any way here is the list of finalists with links to those plays I managed to review during the year and featured pictures. Congratulations to all the nominees, and of course to the Jessie winners

Jessie Richardson Awards Large Theatre  2008-2009

Outstanding Performance by an Actor in a Lead Role
Jay Brazeau, The Drowsy Chaperone, Playhouse Theatre Company

Outstanding Performance by an Actress in a Lead Role
Jennifer Lines, The Tempest, Bard on the Beach

Outstanding Performance by an Actor in a Supporting Role
Simon Bradbury, Titus Andronicus, Bard on the Beach

Outstanding Performance by an Actress in a Supporting Role
Margo Kane, Where the Blood Mixes, Playhouse Theatre Company & The Savage Society

Outstanding Lighting Design
Alan Brodie, Miss Julie: Freedom Summer, Playhouse Theatre Company

Outstanding Set Design
Ken MacDonald, The Constant Wife, Arts Club Theatre Company

Outstanding Costume Design
Nancy Bryant, The Constant Wife, Arts Club Theatre Company

Outstanding Sound Design or Original Composition
Alessandro Juliani, The Tempest, Bard on the Beach

Outstanding Direction
Max Reimer, The Drowsy Chaperone, Playhouse Theatre Company

Outstanding Production
The Drowsy Chaperone,Playhouse Theatre Company

Significant Artistic Achievement
Alan Brodie, Patrick Clark, Jamie Nesbitt,
Exceptional Integration of Visual Design,
Frost/Nixon, Playhouse Theatre Company

Othello by William Shakespeare
Directed by Dean Paul Gibson
Bard on the Beach
Mainstage  at Vanier Park
To September, 25th, 2009.

Vancouver,BC: Of Shakespeare's great tragedies. Othello ranks as number one in my list of faves, just ahead of King Lear. I think it is for me that the play is about an epic  battle between two larger than life characters - Iago, arguably Shakespeare's greatest villain, and Othello, the archetype "hero with a fatal flaw." The immense dramatic irony is that Othello, the great warrior General , doesn't even know he is involved in this battle, yet the audience knows that bit by bit he is losing the most important war of his life. As Harold Bloom puts it, it is Othello's tragedy but it is Iago's play. Iago, the master manipulator pulls strings like a puppeteer, weaving a web of deceit that ensnares everyone - including ultimately, himself. 

With Bob Frazer as Iago and Michael Blake as Othello, director Gibson has cast two actors who are well matched in both physical stature and commanding stage presence.  Naomi Wright is totally convincing as the  young Desdemona, glowing with luminous innocence in the love of her heroic husband, fiery in defence of her choice, confused and disbelieving in his rejection of her. Jennifer Lines brings a gentle warmth to Emilia's relationship with Desdemona that magnifies her horror as she realizes her role in the tragedy. With strong performances from the entire cast, the tension throughout the play is electric.