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Swimming with Piranhas has, for the most part, been written in transit: I wrote
some of it in the Andean wilderness, some in the Amazon jungle, some from my
parents home in Nelson, some from the floor of my father-in-laws house, and the most
recent part on the 55-minute flight from Wells, B.C. to Vancouver.
In August, after not having had any creative writing inclinations in months, all
the while knowing I had a play that needed to be finished, the idea of going to an out-ofthe-way place to write began to grow in appeal. A retreat was not something I had ever
done, but the dramatics of it appealed to me, and since my Kitsilano apartment had
been doing nothing for my writers brain, it seemed worth a try.
My intention was to go to The Sunset Theatre in Wells, B.C., wherein I would
spend a week working on the finer points of what I hoped would be the final draft of
my solo show Swimming with Piranhas - a show which I am taking on tour in 2013.
I imagined myself intensely hunched at the computer for hours at a time working
on the script, and I thought that what I would take away from the experience would be
a substantially improved script and some peace of mind. Naturally this is not what
happened. Well, not exactly.
One might argue that Im just a lazy actor, and that I hadnt tried hard
enough to rehearse outside of the theatre, or that its just a mental block I have in
relation to this piece and not actually related to the space. However, that doesnt seem
right, especially when I look at how the writing for this current play has so far taken
place compared to my last solo show.
Swimming with Piranhas has, for the most part, been written in transit. Thus, it
seems almost inevitable that the characters in this play (having been created out of a nomans land of expansive movement and transition) would not be interested in coming
alive in a 600-square-foot apartment and would instead require the sweep of a stage or
the open space of a bog in order to be found.
Without a doubt, the greatest gift of my retreat was the personal experience of
seeing and feeling the difference a space can make on a piece of theatre during its
creative and developmental process. The tricky bit in future will be deducing how
much and what type of space is ideal and then somehow conjuring it up. Which, of
course, is part of the theatre-making art.
For as much as some would like to think of theatre making as a craft - an
amalgam of trades that cannot be the case. There are no formulas in theatre that will
always result in a compelling end. Indeed, just as a painters art is in his sometimes
calculated and sometimes intuitive choice of brushstrokes and colors, so too is the
theatre makers art in her choices. And the theatre makers choice of space, much like a
painters choice of canvas size and construction, is a vital one. One that can set the
characters of a play free and enliven the text, or, if the choice is ill made, put the play in
a prison from where its truth and vision can be neither seen nor heard.