SOULPEPPER 2012: You Can't Take It With You, A Christmas Carol
FOR
SOULPEPPER: A Midsummer Night's Dream, The Time of Your
Life, Our Town, A Christmas Carol, The Way of the
World, Ring Round the Moon, Mary Stuart,
The Time of Your Life, The Government Inspector,
Our Town & A Christmas Carol.
OTHER THEATRE: Hamlet (Resurgence Theatre); The
Drawer Boy (Theatre Passe Muraille), Girl in the
Goldfish Bowl (Tarragon), And Up they Flew,
Happy Days (Theatre Columbus), Half Life
(Theatre Aquarious), Innocence Lost (Blyth Festival),
The Cherry Orchard (Guild Festival).
FILM: Zombie Dearest voted best feature at the Flicks
Rhode Island International Horror Film Festival (Scream Clock),
Murdoch Mysteries, Picture Day, The Wall.
OTHER: Director: Leaving Home
and Salt-Water Moon (Blyth Festival). Dora
nominations for The Drawer Boy (TPM), Girl in the
Goldfish Bowl (Tarragon), 1492 (Theatre Columbus);
Sterling nomination for Later Life (Citadel); graduate of
NTS.
A Christmas Carol
has a long history with Soulpepper. What's it like coming back
for the fifth time to do this production?
It's an emotionally bottomless pit of a story, this tale of redemption. I could come to it every year for the rest of my life to find my own moments of worry, concern, and fear in the play. To be a spirit and to guide Scrooge through his transformation is always a remarkable and emotional journey. I'm a nostalgic person by nature, so to get to play the Ghost of Christmas Past, and recognize the things in your own past that worry you is always going to be an emotional ride.
Dickens'
original novel A Christmas Carol has never been out of
print. What do you think it is about the story that makes it so
timeless?
The show
opens with you speaking to the audience, very clearly an actor
putting on makeup. How does that set the tone for the rest of the
show?
JJ
I think it's a stepping stone, showing the audience that it is a piece of theatre, a piece of stagecraft, that we're creating magic out of nothing. I think it helps to bridge the gap to making that suspension of disbelief. We've actually changed the beginning this year though. We're trying to simplify things a bit, so the makeup isn't going to come on like it used to, but it's still the act of "Welcome to the theatre, welcome to this world we're going to inhabit where the unexpected and surprising will fill you." But it seems to set the tone where we can slip right into the ghost story and people are on the edge of their seats.
Why do you think that having one actor play all of the spirit characters is an effective way of telling the story?
I'm sure originally it worked both artistically and economically, but I think the idea is that there are elements of Marley in all the ghosts, that it's still him all the time - he's been allowed to come down and set Scrooge on the right track. It's helpful for Scrooge to see that this ghost is a real person he knows and not just some imagined face. It's somebody that has looked into his eyes and said "the ghosts are coming and they're coming for you." And when he sees Marley in each of these stories it helps him to know that this is tailored specifically for his journey.
The 2011 Season is just around the corner. Is there any role or play that you're looking forward to the most?
Edgar Webb in Our Town is one of my favourites. He gets to sit very closely to the world of Emily and her dilemma. The warmth, the confused pleasure of the man as he tries to navigate having a teenage daughter and having a son in law, having to tell his version of that story is such a delight. The one brilliant scene with the son in law is one of the great, almost perfectly-written duets in dramatic comic theatre. It's always been a pleasure to revisit and figure out new ways of doing it.