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I always stress that what an actor needs the most is a basic sense of empathy. Sure, imagination and ability to create and inhabit fiction is also important. But the key tool to balance the duality of being an actor and living in that fiction is empathy. In our training, there are many opportunities for people to get hurt or explode, or experience strong emotional episodes. And it becomes apparent very quickly that empathy causes people to react to those things honestly, but

When I was about 20, I started getting into the work of Robert Lepage. I loved his use of technology, his theatricality and found myself less taken in by his explanations of the work. It was truly work that spoke for itself. Watching a Robert Lepage show instantly made me feel more secure and comfortable in my work. I had felt so intimidated by artists who were intellectually gifted and could philosophise and articulate issues in a way that felt like an Ivy League essay. Over

The theatre, to me, needs to feel accidental. Things accidentally come together in a beautiful way, spiralling uncontrollably towards an inevitable end. In that way, the theatre is a sudden congregation of serendipitous events. Ironically, the creation of that world is one of absolute precision. But what gives that world life is the power of choice. The question lies in whether or not the actor-creator can exercise the power of conscious choice to validate the form. This does

As much as the “company profile” states that it’s an international network of theatre companies, etc., more than anything, 5toMidnight is a lifestyle. I grew up being told over and over again that artists won’t get to eat, that there’s no future in the arts and all that jazz that’s become really tiresome to hear over 26 years of life. So when I go on Instagram and see some actors living it up, being put up in hotels, attending galas, and existing in their own little Hollywood