Michael Murphy: How did it come about that you would be directing Glengarry Glen Ross for Soulpepper?

David Storch: Well, Albert asked me is the short answer. I've been working on and off with the company as an actor since School for Wives. And this seemed to be a good opportunity for me to direct for Soulpepper.

MM: What drew you to the play initially?

DS: I think actors and directors are drawn to this play, and there's a broad appeal here, because the objectives of the characters in the play are so obvious that there's very little going on except the raw contest of wills that is very often more a matter of subtext than it is in this play. We know what people want and watch them go after it in a real blood-fight sort of way.

MM: How did the casting fall into place, did you bring your own suggestions to Albert or vice versa?

DS: Casting for a repertory company like Soulpepper has a variety of challenges, all of which end up on Albert's desk. Finding the right people to serve the roles, and the right roles to serve the actors is key-he kept me up to date on everything.

MM: In light of the current economic downturn, how do the play's themes become even more timely and relevant?

DS: Well things couldn't be more perfectly timed. I know that Soulpepper's been wanting to do this play for a while and has tried to program it in a couple of previous seasons-I think it's worked out perfectly. So perfect, because Mamet mined all the issues of that terrible recession in the early eighties and the desperation and frustration of that era has come full circle.

MM: What are some of the challenges and rewards that come with working on a Mamet text?

DS: The challenges-if we do this right-the challenges are really hard-allowing the actors to really tuck into their objectives. What's great about it is that once you find the music as a group (there's a lot of teamwork involved) it can be really beautiful in a gritty sort of way.

MM: Have you found it difficult at all switching your mental focus back and forth between James Joyce in Travesties and Glengarry?

DS: It's a great question, but it hasn't been too difficult because those worlds are so different. In fact after a day of rehearsals, it's really nice to be able to switch my mind over to Stoppard's world to escape for a few hours, and then I'll find myself reading over the Glengarry script on the way home prepping for the next day.