Meet the two actors who play Rita and Frank in Educating Rita. Shannon Currie and Brad Rudy, both coming together for their first two-hander. Find out what makes them most excited about this poignant production.

What gets you most excited about performing together?

Shannon: Derek [Ritschel, Director] proposed the idea of working on this play and when we talked about who might play Frank, it was immediately Brad! Brad and I had worked together on It’s A Wonderful Life at Theatre Aquarius — he was someone I could not only picture in the role, but someone I wanted to spend eight inseparable weeks with!
Brad: I wrote to Derek to express my desire to work on this play, not realizing that Shannon had already suggested me. I welcomed the opportunity because although Shannon and I had worked in a play before, we hadn’t truly shared scenes together.
What makes a good stage partner?
B: Trust. It’s a dance, so it’s knowing that you want to be in the room with that person and can count on them. That’s electric on its own but knowing you can trust and save each other is vital.
S: Someone who is generous, playful, and forgiving.

Is a two-hander more challenging than a show with more actors?

S: One hundred percent. We never stop talking! Having only two people on stage means that the play is constantly unfolding between us, so it’s a real
responsibility to the play and my scene partner.
B: It’s challenging because you have just the two of you. You don’t have any moments to step back and see the bigger picture because you are always in the scene. Fortunately, the director is like a third actor; an outside eye.
Can you relate to these characters?
S: Sometimes there are characters and you think to yourself, “I know this person.” In Rita’s case, there are some major cultural differences, but I feel I’ve grown to know the marrow of this woman, what she’s about, what frustrates her, so I do try to hold onto that talisman of “I do know her,” even though the circumstances are different between us.
B: I immediately felt that I knew this character. I have taught drama in colleges and universities and understand that teacher-student dynamic. In fact, I learned a lot from working with the students and that made me excited to apply that to my own acting. I also really connect to Frank’s dry sense of humour – and our mutual love of Scotch.

What do you love about your character?

B: I love how he gets inspired by a student after almost giving up. It’s so easy to get locked into one’s own world and rhythms until another person comes along and inspires you.
S: Rita is always getting back up; she’s a fighter. She envisions her potential and doesn’t let herself become deterred. I admire that greatly.

What will be the biggest challenge in playing your character?

B: Playing the dark, defeated side of Frank; keeping the theatrical energy while playing someone who has given up.
S: I think the challenge is always being true to your character’s point of view, life experience, background, without commenting on it in performance. It is always the challenge to live in the eyes of the character your playing.

Educating Rita tackles some pretty heavy issues, so where does the comedy come in?

B: It’s opposites attract, fish out of water…all those clichés. The comedy comes out of that friction, those differences. And some pretty clever wordplay.
S: Rita’s a bit of a circus — she’s a real force of nature. She and Frank have very different ways of seeing the world yet they try to find a way to connect. So that provides a lot of comic fodder. And then there’s that monkey in the third act!…

Why should people come to see Educating Rita?

S: Everyone will be able to see parts of themselves in these characters because they are very well-written humans. I think we’ll all be able to relate to Rita and Frank, their desires, their motivations, their relationship to each other.
B: It sounds so simplistic, but it’s a really, really good story and that’s what I strive for as an actor – telling a good story.

What would you say is the overall message of Educating Rita?

B: It’s never too late to be inspired by someone or something. Education is a good, a great thing, but as the playwright says through Frank: art and literature shouldn’t take the place of life itself.
S: Derek had offered to us that the play was about the pursuit of happiness. I really relate to that pursuit through the value of education. Through education one is able to change their stars — find the freedom to make their happiness.

Lighthouse Festival Theatre announces November retirement of Administrative Director Helen Wagenaar

Port Dover, ON. (August 17, 2018): After a 28-year career at Port Dover’s Lighthouse Festival Theatre and 25 years as the Administrative Director, Helen Wagenaar will retire in November.

Working with four Artistic Directors, it was under Helen’s leadership that Lighthouse grew to become one of the most successful theatres in Ontario with over 50,000 patrons each summer.

While carrying on the daily operations at the iconic 114-year-old building in downtown Port Dover, Helen also co-ordinated additions and renovations that included the new upstairs Long Bar, the downstairs lobby, a new rehearsal hall, new theatre seating and the new front entranceway completed just last year. Additionally, Helen lead the team when Lighthouse assumed management of Showboat Festival Theatre in Port Colborne in early 2013, coordinating countless details and paving the way for a successful opening just a few months later.

In the early years, Helen was responsible for publicity, sponsorships, bookkeeping, contracts and all the administrative details with a small group of three people. Today, eight full-time and numerous part-time staff create a team that bring live theatre to the community year-round.

“For over 20 years there has been one individual who has walked through the doors of Lighthouse Festival Theatre every morning with one goal in mind — to build something beautiful for Port Dover, build something strong for the community, build something that everyone can be proud of and call their own. Whether you enjoy live theatre or not you cannot deny that Helen’s years at Lighthouse will have a positive impact on the community both socially and economically for decades to come,” said present Artistic Director Derek Ritschel.

Board Chair Paul Morris praised Helen’s contributions to the theatre and the community. “Helen has skilfully turned Lighthouse Theatre into one of the finest and most respected professional summer theatres in our country. Her passion, loyalty, caring nature and absolute belief in theatre’s impact on people will be truly missed.”
Past Chair Shawn Swarts noted “Helen is a true professional, skilled, organized and a crucial component to Lighthouse’s success. I don’t know what we would have done without her during those formative years when the theatre was purchased and so beautifully restored and expanded. Helen rocks!”

“These years have been stimulating and rewarding. I am tremendously proud of my accomplishments and for leaving the building and the operations in top shape. Hundreds of colleagues, volunteers and board members over the years have supported the many improvements during my tenure – many of them have actually been involved as long, or longer, than I,” said Helen.

“I couldn’t be more pleased and confident with the team in place to move Lighthouse into the next era. I will definitely be cheering them on while enjoying this next phase in my life.”

With an ever-growing theatre season that now sees shows taking place throughout the year in Port Dover and also at Showboat Theatre in Port Colborne, Helen has mentored many young professionals in the skills of running a professional theatre.

The Lighthouse Board announced that Nicole Campbell will be the new Administrative Director starting this November. Nicole was hired by Lighthouse in 2014 as Publicist and has taken on increasing roles at Lighthouse and Showboat theatres. She also serves on the executive of the Ontario Summer Theatres organization and is involved in numerous community projects.

The Board noted that Nicole has been a key part of the team during the recent renovations and has a thorough understanding of the organization’s technical, artistic and financial needs. In welcoming Nicole to the top administrative position, the Board Chair said “we see a smooth transition and continued growth at Lighthouse under Nicole’s leadership.” Both the Administrative Director and Artistic Director report directly to the Board.

“I am thrilled for the opportunity to evolve with this thriving organization that I am so passionate about,” said Nicole. “I am looking forward to working with our dedicated and vibrant team to drive further growth and build upon the theatre’s strong foundation.”

Release issued by:
Lighthouse Festival Theatre Board of Directors
Paul Morris, Chair
chair@lighthousetheatre.com

For more information or to arrange interviews, please contact:
Lighthouse Festival Theatre
Publicist
Nicole Campbell
nicole@lighthousetheatre.com
519-718-1100

Matthew Olver started out in sketch comedy and improv and from there went on to work on a number of commercials and TV series. Olver admits that, like many actors, his favourite place to be working is on the stage and he is thrilled to be making his debut at Lighthouse Festival Theatre. We sat down with him to talk about his upcoming performance in the world premiere Fair and Square by Derek Ritschel.

What’s it like for an actor to work in a new town for a new theatre?
It’s wonderful! I enjoy travelling, meeting people and experiencing new things, that’s one of the great perks of the job.

What drew you to Lighthouse?
I’ve wanted to work with Derek (Lighthouse Artistic Director) for a long time now. I’ve known him for quite a while, so when this play came up that he had written, I jumped at the chance. Both Derek and Lighthouse theatre have a great reputation.

What was your first impression when you arrived?
Lighthouse has been awesome and on the ball with everything. The rehearsal hall is fabulous; it’s really nice to have a dedicated space to work. You don’t always get that.

Fair and Square is a brand new show and you were part of the read through and development process back in the winter. What was that like?
I absolutely loved that part. When a writer looks for an actor’s input, when you get to really work together to tell a good story, that is a very exciting time. Being there at the start of a brand-new play allows you to explore the story even more than you normally would. It’s rare to be involved in a world premiere from the beginning. It hits on all of my loves; acting, improv, storytelling, playing.
Derek’s very open and collaborative, so that sets a great starting point. The first read-through is very important because often, it’s the first time a writer has heard their words spoken aloud. Writers love to hear people’s different patterns of speech because we don’t always speak in the same way as we are written. Whenever I write anything, I find the first read-throughs the most illuminating.
Luckily, this play arrived piping hot and ready to go, and that makes my job a lot of fun.

How is it going now that you’re in the rehearsal hall?
Really fantastic! I had never worked with any of my fellow cast members before, but I was absolutely right in knowing that we would all get along great. I think they are all hilarious, so the only danger I see is in not being able to keep a straight face. And everybody from our stage-management team to our director, Ralph, has been top notch. Ralph is a very calm, very astute director who has excellent ideas and lets everything happen naturally… And he lets us try anything.

Is that rare for a Director?
Directors usually want you to try different things, but some can be more rigid than others or have a very specific idea of how they want the story told. Ralph has a strong vision for the show, but his guidance has been very supportive and positive.

Is it nerve-wracking putting on a play that the Artistic Director of the theatre you’re working for has written?
Why, has he said anything? Kidding. No, Derek is my boss, but he’s really easy to get along with. Certainly, as an actor you want to be respectful to the writing and get across what he wants to say. When you’re reading a script, there can be any number of ways to interpret it, so I want to be true to his point.

What’s it like to work on a brand new show?
I find it freeing. I played Henry Higgins a while back and because it’s such a well-known role, you really have to do one of two things – do the best impression in the world of the original or something completely different. With this show, you’re the first one to do the role, so you invent a lot of your character from scratch. Ralph and Derek really encourage that.

How does a new show affect you as an actor in the rehearsal hall? Are re-writes still taking place?
Whew! Thankfully, no. I’d have to start pasting script pages around the set.
There are a few tweaks here and there, but the play was really ready as is. Full rewrites would be tough. A lot of times on television, they’ll be handing you new script just before you go on camera, and that can be challenging.

Do you approach the work differently than you would a show that has been done a number of times?
I like to incorporate a lot of improv, that’s my background. With a new play, you can really work that in at the beginning. Plus, writers of a new show are more willing to play around with it before it’s been performed. After that it’s pretty set. Generally speaking, you don’t mess around with a script too much after it’s been performed.

What do you like about Fair and Square as a show?
It’s a very sweet story about life happening when you’re busy making other plans.
I love the characters. They’re archetypes that cover a lot of ground. You’ve got a buffoon, a nut, a tight-ass and his very strong wife. There are endless variations of those types and within them, you can have a lot of fun. Also, the plot moves along very quickly with tons of good, funny action to propel it.

You play the character Earl … are there similarities between you two?
Yeah, I think I’m probably more like Earl than I want to admit. I certainly recognize a lot of him in me or me in him. I try to funnel characters through my experiences. So perhaps I haven’t experienced everything he has but I can certainly see how that would affect me if I were in that scenario.
Earl likes things done in a certain way and doesn’t like when things stray from his plan. But we all know what happens to the best laid plans. We all have a journey and that’s Earl’s.

How do you prepare for a role?
I have a pretty set process. I get the script at least a few weeks in advance and familiarize myself with it as much as I can. I break it up in to “beats”. There could be 10 pages in a scene but maybe 100 different topics, so I find it helpful to separate each subject change. I break the script up into small chunks, and then those get broken up into even smaller pieces. There are so many lines and boxes and notes on my script that by the time I’m done with it, it looks like a crossword puzzle!
I tend not to actually memorize my lines before I start rehearsals, otherwise my performance could be too rigid. I am highly influenced by the other actors onstage with me; if I have my lines memorized before I’ve worked with them, then I’m not connecting with them the way I should be.

Does it make you nervous not having it memorized beforehand?
No, not before rehearsal. Lighthouse offers a luxurious 3 weeks to rehearse, 2 weeks is the norm and some plays you only get 10 days… If I can’t get my lines down in 3 weeks of 8-hour days there’s a problem.

What do you hope the audience takes away from this show?
First of all, I hope they will be entertained and have fun, because it’s very funny and we have fun doing it. Second, there are a lot of really nice moments and relationships between the characters. There are comments on the ups and downs of friendship and love; some very funny and some less so.
Silly and serious… Just like life.

Melodee Finlay returns to the stage

Before taking some time away from the stage, Melodee Finlay, known to those close to her as Mel, was wildly loved in the theatre. She made quite the impression with her charismatic personality and her ability to easily connect with the audience. Her name may look familiar to many, as she has been entertaining for years. She started singing with a travelling band by the name of Harmony Street and then moved into musical theatre, which ultimately led her to realize her knack for comedy.

Mel is thrilled to be returning to the stage as Grace Gervaise in Stage Fright at Port Dover’s Lighthouse Festival Theatre. This character is unlike any she has played in the past. Mel explains that Grace is a melodramatic movie star who jumps at the opportunity to be involved in a mystery. “She’s a bit of a hard nose and somewhat self-absorbed.”

In approaching new roles, many actors have rituals or pre-show practices that help them to prepare. “I like to get in my character’s shoes and embody their posture,” Mel describes. “Seeing myself in my costume helps me to gain a new sense of confidence and I have to know I’ll be comfortable on stage.” Mel admitted that in an effort to try to connect to her role, she has gone to the extent of buying lingerie that she feels her character would wear.

Preparing for a show only goes so far in theatre and Mel has countless stories about moments on stage when things don’t go as planned. “I was having a pretty intense conversation backstage, when I heard a pause on stage and thought I had missed my cue,” she remembers. After running on stage, she realized she was two pages too early and completely caught her co-stars off guard. Mel remembers the surprise. “No one could say their lines because everyone had lost their place.” They managed to recover after a few minutes of fumbling. “What a whirlwind that was!”

Rolling with the punches is a skill that Mel has had to call on numerous times throughout her career. “People underestimate actors who do comedy,” Mel expresses. “There is a rhythm to comedy and you have to be able to adopt and embrace different rhythms.”

“Comedy gives people a break from every day life,” explains Mel. “I love the idea that for however long we are on that stage, whatever kind of day people have had, they can leave it at the door and enjoy themselves.” Being engaged with the audience and enjoying the ride of a performance is one aspect of theatre that drives her passion.

There have been moments, or several for that matter, where Mel’s commitment to her performance has allowed her to take a risk or two. She was on stage with Derek Ritschel in Bedtime Stories when the hydro went out and the theatre went completely dark. “Derek and I decided to continue the scene until it became unsafe and we managed to carry it on for a while, keeping the audience in tow until it didn’t make sense.” That’s part of the pleasure of comedy, for Mel; it leaves room for actors to come together and improvise when the unexpected happens.

Actors need an incredible amount of trust in one another and must be able to accept the ebb and flow of comedy. “There is a generosity of spirit with fellow actors and this helps us to be confident on stage,” Mel explains.

Stage Fright offers Mel yet another chance to make people laugh up on stage and do what she loves. “I love it when I’m in the zone and am able to be present in the work. When all the stars align, it’s a wonderful feeling.”

Meet Wendy Lundgren, Lighting Designer for Screwball Comedy. We sat down with her to get a behind the scenes look on what it means to light up the stage.

A Lighting Designer is a very niche position. How did you know you wanted pursue that career?

Honestly, I didn’t. I took drama in high school, but I’m from a small town and our gym was not as equipped as others might be. There were lights of course, but no one explained it as being a “thing”.

I went to York University to be an actor. In first year you have to take everything from theatre history, tech, performance, sound to lighting, you don’t specialize. I was on the lighting crew for an assignment and loved it. In second year I specialized in lighting and there was no looking back.

It doesn’t seem like an easy career to dive right in to, how did you get going?

Well, there are two paths that people typically take; jump right in or the path I took – be an assistant. With the help of my professors, I landed my first assistant position in 4th year with the Canadian Opera Company – as an independent study. After graduating I was lucky enough to get assistant positions at Shaw and Stratford. It was great because I met numerous experienced designers and sponged/learned a lot from them.

Lighting is more than just the audience’s ability to see the actors on stage. Can you elaborate on what lighting a show really means?

I like to think of us as great manipulators, sculpting actors in space. Lighting can shape your mood; express an emotion. Sometimes it’s as much about what we don’t want you to see as what we do. Lighting will shift your focus; guide you to where we want you to look on stage, to what we think is important versus what’s not, at any given moment, to telling the story.

Lighting should compliment set design. One of the strong themes of a design I just worked on was the idea of silhouette. My ability to create those silhouettes with light, worked hand in hand with the way the set was designed.

For Screwball Comedy I was able to riff on Beckie (set designer) and David’s (director) concept of Film Noir and light the show in “black and white” with very few, specific hits of colour.

How long does it take to light a show?

It varies a lot, depending on the nature of the production, size and scope. Musicals take longer, generally, than a straight play. Even here at Lighthouse for example, Baskerville (– A Sherlock Holmes Mystery- 2017) was much more involved than The Birds and the Bees because the set kept changing.

Initial discussions can happen as much as a year ahead with the director. Usually my residency is 3-4 weeks, which is when I see a bit of rehearsal, prepare a plot, and tech through to opening night.

Can you go in to more detail about your process of lighting a show?

First, conversations with the director to understand their vision, then the set and costume designers to get a feel for what the overall design of the show wants to look like and to see if there’s any way to integrate lighting in to what they’re doing. Then, I’ll find out more about the venue such as the stage, inventory (of lights), how much time you have once you’re in the theatre. Based on those conversations and my own breakdown of the script, I’ll work out what each scene is going to look like.

I’ll watch some rehearsals to get a feel for where people are standing, where you we need to light any given scene. Based on all of that, I go away and make a plot.

A plot is a plan/drawing on paper showing where I want lights hung, what colours, the nuts and bolts. Once that’s done, and lights are hung, then you get in to setting what each lighting cue or “look” will be, and the cue to cue, which is what I really enjoy. This is where you start shaping the story.

What exactly is a cue-to-cue?

A cue-to-cue happens during tech week, typically one long day but on bigger productions it can roll into two. It’s when all of the technical aspects of the show (except costumes) meet together for the first time on stage. A “cue” is something technical that happens whether it’s sound, lighting, special effects, actor cues, or any other event. We practice all of those things specifically to work out and refine timings and placements. If there’s a scene with a large chunk of dialogue, we will likely skip that and move on to the next cue the Stage Manager has to call.

It’s also usually the first time the cast is on stage and have to get used to the physical space.

Overall, tech week is a process of gradually adding elements to the production until you’re comfortable working your way through.

After all of the technical aspects of the show are covered, is your job complete?

After cue-to-cue, we have a tech rehearsal day when we run the show from top to bottom. After that, previews start, which adds the last element – the audience. We use these performances as a chance to sit back and watch what we’ve created as a whole, make adjustments and react to any changes the director may make. Once the show opens, my job is complete. I leave it in the hands of the crew.

Do you find it difficult working with so many moving parts, while still ensuring the director’s vision is met?

It may sound hard, but ideally it’s very collaborative. What is the story we’re trying to tell and how do we want to tell it? It’s a bit like a puzzle – and I love puzzles. How do you use all the things you have at your disposal to tell the audience the story and give them a great experience?

I can’t imagine doing anything else. You never know what the next project will bring or the new challenges you’ll face. I’m very lucky in that I get to tell stories for a living, which is pretty fun!

Karen Wood and William Vickers share their own true love story, the balancing act of their demanding careers and what drew them to The Birds and the Bees.

How did your love story begin?

William – In 1985. We played a romantic item in the Stratford Festival production of She Stoops to Conquer.
Karen – The very first time we met was in my dressing room at the Avon Theatre for a
“clock” fitting.
W – We didn’t even know what that was.
K – The designer asked us to hug so they could measure around us.
W – Because we had to fit in this grandfather clock that would appear in the final scene of the play.
K – At that point we were total strangers. They built this Styrofoam grandfather clock, but when we came out in it the Director decided it was too big.
W – So when they measured us the next time, we had to lose our clothes and get down to our underwear.
K – Once you’re hiding inside, it’s just so tight – you could barely move.
W – We each had a lever we had to pull back and forth, all while in our underwear, you can imagine what that was like.
K – Sparks flew, luckily we both have a good sense of humour.
W – Actually, we were supposed to meet 4 years earlier in Charlie Brown.
K – It might not have worked out!

What drew you to pursue a career in theatre?

K – I didn’t plan it. I was in an amateur production and someone in the play told me that the NAC (National Arts Centre) was holding auditions. I had just graduated with a diploma in Broadcasting from Algonquin College. I auditioned and got in. It was an unbelievable national tour. I decided to ride that wave until it was over, and after two years I moved to Toronto and I was in it. It wasn’t my master plan, but it was an amazing opportunity so I kept rolling with it. By that time, technology had changed so much I probably would have had to go back to school.
W – My love of theatre came from storytelling. I would get lost in the land of imagination as a child, my mother was an incredible storyteller. I took drama in highschool and originally went to Bishop’s University for geography, but then switched to drama/music. My teacher told me to audition for National Theatre School, so I did and got in.
K – Only 16 people across Canada get in, you must have had something!

How do you juggle your career and relationship?

K – There can be lots of separation – we were just apart for 3 months, but you learn to deal.
W – We’ve been together 31 years.
K – No, we’ve been married almost 31 years, together for 2 before that.
W – Yes, you’re right.
K – It’s funny, for many years in our career we didn’t work together as a couple. Sometimes in the same show, but they would give us different partners.
W – I don’t think they thought we looked good together as a couple?
K – Recently we’ve been doing most work together.
W – We draw the line at home. We keep it in the rehearsal hall.
K – We don’t give each other notes, it’s too exhausting to be working all the time.

What is it like working together on stage?

K – It’s great, acting relies on a lot of trust. We completely trust one another.
W – We’ve worked together a lot, so it works out very well.
K – We can always rely on each other to get us out of a situation.
W – There are some actors you click with and some you don’t, It’s comforting knowing people have your back.
K – Trust puts you more at ease. In a play, if you don’t trust other actors it can be stressful.

Why Lighthouse?

K – I love the town. I’m thrilled to be back. The first and only play I’ve done here was Summer Garden, I was a part of the cast that helped create the script. I was fascinated by the dance hall. People in town would come up to me and share their stories.
W – We’ve been down to see other shows since then.
K – I always thought I’d be back, but didn’t know it had been 25 years already.
W – I thought maybe 10! I vividly remember my first 5 years of acting, after that, theatres all start to blend together.
K – It all speeds up. I’ve been to every province except Newfoundland. Played in major theatres across the country.
W – Same with me, except Newfoundland and PEI.
K – I wouldn’t have if hadn’t been in theatre. It’s astounding.
W – I feel very lucky. No expectations of celebrity, just love being on the stage.

What made you want to do The Birds and the Bees?

K – We saw the premiere at Blyth and loved it, felt it was very special. We thought we would love to do it.
W – Matthew (Gorman, Director) reached out to us, we hadn’t heard from him in about 12 years, just different circles of life.
K – I worked with Mark Crawford as an actor before his first show as a playwright premiered, Stag and Doe, which was a huge hit. He has a wonderful ear for natural colloquial. He’s not a one shot wonder. We’re so proud of him.
W – Mark’s actually still tweaking The Birds and the Bees, we just received a new draft.
K – We love the script and the subjects it covers. There are serious discussions about the use of pesticides back home. We’ve seen the affects; no grasshoppers, issues with insects, birds having seizures. Bill’s really interested in entomology.
W – We have a water feature at home, but there aren’t enough insects so we actually have to feed the frogs. There’s also a big discussions of bees disappearing – is that because of pesticides?
K – The play is filled with metaphors that apply to human struggle as well. Mark leaves it open as to who is the expert, the scientist with the university degree or the farmer with years of experience? No definitive answer, he’s not taking a side, just presenting.
W – This play provides hope at the end though, that life continues. It’s also about connections – it’s about love.

Lighthouse is thrilled to welcome the newest member of our team Steafan Hannigan, joining us as our Technical Director.

Steafan was born and raised in Belfast, Northern Ireland and moved to Canada nearly 12 years ago with his Wife Saskia and 3 children Oisin, Eile and Ayisha.

He has a background in theatre and has held many interesting positions: Technical Director, Musical Director, Head of Props, Head Carpenter, Lighting Designer, Sound Designer, and actor. Previously he worked as a Technical Director for many companies including Jumblies Theatre, Education Arts Canada and Festival Players.

He has also had an interesting career as a musician having composed the music for a 24-episode animated series which aired worldwide in 2015, worked with a diverse range such as Bjork, Depeche Mode, Loreena mcKennitt and AfroCelts He has also appeared on MTV, BBC and CBC. Along with his wife Saskia, he was hired to work on developing the hit theatre show “Come from Away”.

And yes rumours are true, he arranged music for and appeared on the hit T.V. series “Friends” – the one with Ross’s wedding, acted in Canadian show “Coppers” and been a session musician on “Black Harbour”, “Relic Hunter ” and “Earth Final Conflict”.

He has played or produced over 200 albums, toured in over 30 countries and still has a recording studio and a collection of over 800 musical instruments. He is an author of “The Bodhran Book” and “The Low Whistle Book” both best sellers in their genre. He and his family also formed a band called Clan Hannigan

He regularly volunteers for ArtsCan Circle, working with Indigenous communities in Northern Ontario, specialising in working with the Pikanjikum First Nation and Project Journey.

Beryl Bain is making her debut at Lighthouse as Ava in the new comedy Five Alarm. We sat down with the accomplished and talented actor to uncover some of the answers audiences have been craving.

Q: What does live theatre mean to you, as an audience member?

To me, the theatre is not only entertaining and interesting but also therapeutic. It’s a community experience that you don’t really get to have in any other place. It’s live and everybody else is there taking it in with you. The lights, how people are moving on stage, how they’re saying their lines. There’s a certain amount of mystery that is involved in making theatre. But I also think the audience plays a huge role in why the theatre is special. In film, the audience has a separate experience; you’re not in it together.

Q: How do you connect with the audience?

The most important thing is to connect with the character and the show and the action that you’ve built, and trust that the audience will experience it because you do.

As actors, we are watching and listening for little cues from the audience.

Q: This is your debut at Lighthouse and first comedy in years, what drew you to want to do this show?

I wanted to do a physical comedy. There’s huge room for doing that extremely well and I think that’s really valuable.  I’ve had a year of doing lots of screen work, different types of theatre shows, different audiences. This is a completely different type of audience, they’re coming to see a good, funny show.

Q: Do you agree that comedy is very hard to pull off?

So hard! The physicality, timing, breaking actions down. You have to invest in it.

The play is about a chili cook off. That better be the most important thing in my life, you know? No one is going to show up to watch something that doesn’t matter to you.

Q: Why is comedy so hard?

I think it’s more recognizable, and therefore everybody is going to look at it with a really critical eye. We all know what’s funny and what’s not. The response is really fast, really visceral.  You can lose an audience quickly and if that happens you might never get them back.

Q: How is the energy different from a comedy versus a drama?

Comedy is more like a sprint, drama is more like a marathon because you expend energy over a longer period of time.

You have to be emotionally invested, keep up the pace, and watch you don’t lose them. It’s a challenge!

Q: With a drama you feel the energy from the audience but you’re not necessarily relying on their response. Do you think the audience plays a bigger role in a comedy?

I’ve never thought about that, but I think they do. As an actor one of my challengers is to try and get a sense of what’s funny without an audience, but I rely so heavily on them. As soon as they show up, I listen so hard and when they laugh I’m like ok that landed! One thing audience members might not know is how important the laughter is and just being vocal. They’re a character in the story. Without them there is no show.

Q: How do you handle a quiet audience?

You have to trust that people are taking in what you’ve made. They’re also free to take it in as they want, I don’t want to pressure the audience in to responding in a certain way. Every person in the house has a slightly different response to something. When you’re in public like that, there’s temptation to only laugh if other people are, but you’re sort of having an individual experience in a group, which I think is a special place to be.

Q: How do you keep your energy up?

Exercise and a positive attitude. I really try to connect personally as much I can to the material, which helps in terms of supplying the physical energy.  One thing to remember is the audience is always seeing it for the first time.

It’s just as much about good diet, exercise and sleeping as it is about the psychological aspect of it. This is the most important thing I’m doing.  You have to leave your personal life at the door, and that can be tough. That doesn’t always come for free.

Q: Over the course of a run, you are performing the same show numerous times. How do you keep it fresh for each new audience?

I warm up as a part of how I work every day because I just find myself more  prepared, stretched, exercised. You do whatever it takes to give them your best.

You can’t predict laughter or reactions. That can be dangerous, because every audience is different.

Q: How does it feel not having an audience during rehearsal?

I love the hall and I love rehearsing, but the minute I get on stage, in front of an audience, something changes. They’re a character in the show. I’ve never thought of it this way before, but the whole rehearsal period you’re missing a really key character – the audience.

By Nicole Campbell

It’s opening night. The set has been built, lighting and sound cues are ready to make their debut, costumes that have been carefully altered are draped perfectly over each actor, make-up has been slathered on to accentuate (or disguise) specific features and actors are eagerly awaiting their cue in the wings. The play is ready for its audience. But how did the actors get here? Let’s rewind to when the plucking and polishing was just about to start… the rehearsal process.

“The art of what we do happens in the rehearsal hall.” Enter accomplished actor Jamie Williams. Having worked on countless shows across the country with an array of talented directors, creative teams and actors, Williams has witnessed his share of different creative processes. While he loves finally welcoming an audience in to his character’s world, he admits that his favourite part lies in rehearsal.

Williams explains that during the (often very short) rehearsal period is the time that actors and directors can be most collaborative, take risks and discover. “That excitement, being intent in a scene with another actor, feeling that dynamic or tension, it can be intense. Whether it’s a drama, comedy or romance; they’re all different, but when that spark is happening for the first time in rehearsal it’s probably the most exciting bit.”

For Williams, his preparation starts weeks before he steps foot in the hall. “You’re not required or expected to come in off-book, but everyone wants to do the best job he or she can.” One of the most frequently asked questions Williams, and probably most actors, receive is how do they memorize all those lines? But for Williams, his process doesn’t involve “memorizing”. “I want to be familiar with the whole play, before I even start looking at the specifics of my character.” Williams tries to discover the answers to questions like “Who’s the hero or the protagonist and what’s going on there? How does my character feed in to that? If I’m not the hero, how do I help them? How do I hinder them? What are the obstacles I need to overcome? What am I trying to achieve over the course of the play?”

After considering all of these questions, and more, Williams brings what he’s discovered to the rehearsal hall. “You try them out and start marrying them to the blocking of the show, the movement of the piece and suddenly the lines start to drop in after that,” Williams believes that lines come to you far easier once this process takes place. “It’s less of I’ve got to learn this, and more of really putting together all the pieces that feed in to the scene. By the time you figure all of that out, the lines the playwright intentionally wrote are really the only thing the character would have to say.”

Rehearsal days are typically eight hours, however Williams admits that the work doesn’t end there and it takes discipline to sit down every night. “I try to give myself a break and empty my mind by going for a run. Thoughts about my character will usually drop in, of course, but often those are good thoughts,” he shares. “I’ll then review and put into my memory bank what we did that day, and get familiar with what we’re going to do the next day so I can come to the hall with ideas I can contribute.”

Acting is unlike any other job in that you are under constant scrutiny from day one, always being watched and judged. “What I’ve learned, is that you have to be willing to make mistakes in rehearsal hall so that you can learn from them and therefore be more confident about the choices that you’ve made by the time you hit the stage,” Williams shares. “If I’m being too vulnerable, or nervous about pleasing the director, I’m probably not going to take the risks that are required and therefore not be set up as well as I could be for the performances.”

“I won’t say it’s fun all the time, because it isn’t.” Williams half-heartedly laughs. “At the beginning of rehearsal, it’s moving along well. In the middle you feel like you’ve gone two steps back and it can feel like you don’t know what you’re doing. Then you figure out the pieces and think ‘yes, this is great’. When you leave the hall and finally hit the stage during tech week, you feel like you don’t know what’s happening again because you’re incorporating the reality of the space and all the moving bits, the lights, sound, costumes, make up… Finally you get a hold of that, and you’re ready to open.”

Jamie Williams stars as Dr. Watson in Baskerville: A Sherlock Holmes Mystery on stage until August 12. For more information, visit the show page by clicking here.

By Nicole Campbell

Love at first set.

Nora Sheehan and David Rosser have a marriage that could easily be plucked out of a romantic play- make that a romantic comedy. They share how it all began, what makes life as a couple of actors work so flawlessly and their upcoming show The Numbers Game at Lighthouse Festival Theatre.

How did your love story begin?
David: We met in Orillia on the set of Private Lives in 1992.
Nora: No we got married in 1992.
D: Right sorry, we met in 1990. I was attracted to these piercing blue eyes and strong shoulders. But it wasn’t just that, we had instant chemistry and electricity.
N: I really looked forward to going to rehearsals. We laughed constantly.

Do you work together often?
N: It’s hit and miss.
D: I’m always surprised that directors don’t take advantage of couples, especially if you need a husband and wife team. There’s instant chemistry with that level of trust. But maybe directors are worried…
N: It will go down south.

Have you had moments on stage that have gone awry?
N: When we first did Private Lives together, there was one part that I did the bunny in headlights every single night. David saved my butt several times.

Can you laugh it off after?
N: You are just so grateful!
D: You dropped a line, it’s not the end of the world. That’s the great thing about trusting the other actor you’re on stage with. Hopefully they’re listening and not waiting for their cue.

You will star together in The Numbers Game at Lighthouse, how many times have you performed in this show?
D: This is our third time. We premiered it at Theatre Orangeville with David Nairn, then at Bluewater Playhouse with Ralph Small. It was interesting working with a different director, getting a different set of eyes. This time, Derek (Ritschel, Lighthouse Artistic Director) asked the playwright John Spurway for some minor changes. It’s still funny and romantic, but the pace is faster so it’s like a different play.

Your characters are the complete opposite. How do you find having to act like you don’t like each other?
N: It comes naturally! No it’s good, we just laugh a lot. We are very supportive of each other, we really are each other’s biggest fans.
D: We are best friends too.
N: We trust each other so much on stage and off, I always ask for help and vice versa.
D: The fact that we go home to the same place helps. We settle in, have a drink, make supper, and work on lines. We rented a house during the second production and set up all the furniture in the basement to match the set. We rehearsed every night, it was perfect!

What are you most looking forward to this time?
D: The chance to discover something new and put more of your stamp on it. We could do this show for several more years. I’d love to go across Canada with it.
N: We’ll be 80 trying to pass as 50.
D: We also love these characters and had a huge part in creating them. You get that opportunity when you premiere a play. They’re 50 something, you don’t get that with a lot of shows anymore. I’m not ready to play a supporting character to some 20-year-old whippersnapper. I like to think even in my 50s I can be a romantic leading man.
N: You look good.

It sounds limiting to find work at your age. Does that get frustrating?
N: You try to laugh it off.
D: Nobody is twisting our arms to be in this business. The fact that we get to do what we love together is fabulous. I mean we get to play with each other and bring in twice the income!

Is it hard both having careers as actors?
D: A lot of people say, “Oh you’re both actors, how does it work financially?” We have actor friends who are married to people with 9-5 jobs and a steady income. But we have established our own lifestyle and home. As long as you have that to go to at the end of a tour or day, you can make it work. You just don’t always know where that next dollar is coming from. Even at this age.
N: Yeah, my hooker days are behind me. HA.

David Nairn directed the world premiere; do you think he will keep his direction the same?
D: He will want to rediscover. He’s not going to just use his notes from four years ago. In some scenes the playwright has made wholesale changes, big slashes. That’s a great challenge as well. I have faith in David to help us find those things.
N: The set is completely different, too. I wouldn’t want to do the exact same show.
D: I think we are getting a handle on who Phil and Bernie are.
N: Maybe we will finally get it right!

What would you say the overall message of The Numbers Game is?
D: As bad as it might look right now, you always have a second chance. We discuss growing up and high school, bullying and infidelity, having a crush on someone that never noticed you, that unrequited love.
N: It’s never too late.