Initially it’s going to be very difficult for institutions to assure audiences that it’s safe to come back. Once, we are able to assuage any fears, I think everyone will be overjoyed to get back in their seats. Artists are a sturdy folk. As soon as we are given the “all clear”, we are back at it with hearts open.

Wouldn’t it be great if our society used this pandemic as a chance to look at some big stuff? It seems like the ideal time to address economic injustice, the minimum wage, a universal basic income, workers’ rights, health care, education funding, long term care, household debt, homelessness, poverty, climate change. I hope this experience makes us all a bit more compassionate, more patient, and more grateful for what we do have.

As an artist, one of my biggest joys is to be in a room filled with fellow artists, creating work together and ultimately sharing that work with our community. Not being able to do that right now – or for the unforeseeable future – is of course extremely challenging and scary. But all artists around the globe are in the exact same position – so, staying patient and shifting my focus to my TODAY is what is most important right now.

I’ve never felt more resolute in my choice as a performing artist, if I’m being honest. I feel with all this time to myself, I’m starting to see the picture the artist and the adult I want to be - which is curious to find among the chaos…it’s hard to slow those excitement gears turning. But hopefully, we’ll all be able to explore those pieces again -

“Great plays. The community. Great artists. My colleagues, friends. Memories. Moments. The anticipation excitement and hope on the first day of rehearsal. Working with designers, volunteers, stage managers, bartenders who are all infinitely better at their jobs than I could ever be. And the audience. The people who pay good money to see what we do because they love it and want it in their lives. Without them we are nothing.”

I'm trying to spin this otherwise difficult situation (as all the production companies and studios are shut down) into an opportunity to create an arsenal of work so that once the quarantine has been lifted, I can hit the ground running with a collection of scripts to pitch, as well as the continuation of a feature-length rockumenatry about the band ‘Moby Grape’.

The idea for ‘All the World’s A Stage’ was to see if we could create a theatrical piece even though none of us were in the same place. I am quite happy with how it turned out. I was kind of learning how to edit the videos as I went along so I admit the technical aspects of it may not be perfect but, as a first attempt I think it turned out alright. I’m already thinking about what we can do next.

I have been impressed with all the various theatre/arts initiatives for on-line readings, phone-plays, involving the audiences etc…I’ve also been thinking about the point and purpose of theatre from all quarters and how theatre criticism serves that as best as possible. I’ve spent this time thinking about what truly makes an inclusive audience and theatre practice.