Tracy Wright Interview
Laurel Green in conversation with Tracy Wright.
LG: Which Theatre Centre location do you remember best, and why?
TW: The Theatre Centre location I best remember is the one that was on Queen between Ossington and Dovercourt (can’t remember the name of the side street it was on). That was the location I frequented (seeing shows) and I also performed in that space on several occasions. The most time I spent there was probably doing The Lorca Play and actually, I literally left my mark on the space. I use to throw myself against the back wall every night (as part of the show, incidentally) and by the end of the run the wall started to cave in a bit and there was a large dent in it the size of my torso. Sorry about that.
LG: You are featured in many movies, yet always return to the stage, most recently in Daniel MacIvor’s A Beautiful View. What possibilities does a theatre space provide in contrast to film, and what keeps you coming back for more?
TW: I guess for me it’s not so much that I keep coming back to theatre but more that I never really left. It’s just the nature of things that work comes and goes, and I have been doing theatre pretty consistently. Most of the theatre I have done in recent years has been on tour […] working with a couple of experimental groups who toured a lot, mostly in Europe. They are PME out of Montreal and STO UNION now based in Ottawa, two companies who, unfortunately, felt they had to leave Toronto in order to survive and thrive doing the kind of experimental work they were interested in. Anyway, I really enjoy working in film and theatre both and I think they somehow feed off each other. I really just can’t imagine feeling satisfied as a performer without doing some live performance.
LG: With this being the 30th Anniversary of The Theatre Centre I have been speaking to many artists, past and present, about the space for artistic growth that The Theatre Centre continues to provide by fostering companies in residence. When creating a new work, what benefit does a longer play development process have for you as a performer?
TW: I think it is invaluable to be able to work in the space you are performing in especially when creating a show. We were very fortunate to have that opportunity doing the Lorca Play at the Theatre Centre, and I think it was a huge benefit in that case. The Augusta Company had that opportunity as well doing some earlier work. You have the chance to use the space with its various flaws and advantages and you begin to feel relaxed and at home there in some way that can’t be measured. Also, you can concentrate on what you are making instead of thinking about transposing your show into another space just before you present it to the public.
LG: You will be performing in a remount of A Beautiful View at Tarragon Theatre next year, and although the play has an incredibly minimal style, how will changing venues effect the production? Having acted on many different stages around Toronto, how does the theatre itself contribute to each production?
TW: A Beautiful View was created as a show that could move. It was always going to be a show that toured and Daniel MacIvor very much had that in mind when he created it. Touring means that you have to constantly adapt to new spaces and you get pretty good at it. But it always has some effect on the show, I think. Sometimes it’s good and you find things. Sometimes you lose something. Often both. I am really looking forward to doing A Beautiful View again. It will be in a more intimate space and I am excited about that. Of course, Tarragon is a remount not a tour, so we will have a lot more time adapting to the backspace than you normally have in a touring situation.
LG: Could you share a memorable moment from working at The Theatre Centre?
TW: I worked with Paul Bettis a few times …most notably on the Freud Project which was a fantastic experience. He, actually, is another example of someone who considered the space as a hugely important part of the production as a whole. We didn’t do that show at the Theatre Centre (it was at Symptom Hall), but we were able to work in the space throughout the rehearsals of all three versions of that show and Paul took meticulous care about dressing that space and creating a house for us to play in. He was truly dedicated to his work in a very positive and fun way and he was able to draw people into his vision. It was a pleasure to go to work in the (late) morning. But I can’t talk about the Theatre Centre without mentioning other people who have passed away and who I associate strongly with it…namely Ken MacDougall and the beautiful and talented Mark Shields who costumed The Lorca Play (one of his many talents) and who was beloved by pretty much everyone who met him. I still miss them.
LG: Thanks so much Tracy.
TW: Thanks again…and long live the Theatre Centre!
Posted: December 11th, 2008 under The Source - 30th Anniversary.
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