The Story: An Artist Performs

Olivier as Shylock (from the Cleveland University Library)

An Artist Performs
We asked theatre people from Toronto to tell us of the one performance they will never forget. We loved their answers...so will you. Also, share your own stories in the comments section below!

Joel Greenberg (Artistic director, Studio 180)
In 1970, I arrived in London for the first time, thinking that I would spend the rest of my life there. I also thought that the 1970 season was fairly standard issue - every important British actor was playing in one or more productions - it was a living history of all things theatre. And the first of the 55 shows I saw was Jonathan Miller's much touted take on The Merchant of Venice. Laurence Olivier played Shylock, and though I found some of the production baffling, Sir L.O. was everything that a first-time aspiring theatre professional could have hoped for. I had to watch the filmed version many years later, so overwhelmed was I by being in the company of this actor and the company surrounding him. Having tickets in the 3rd or 4th row made the evening, jet lag and all, something I have never forgotten.

The TSO (under Victor Feldbrill at Ontario Place, via Wikipedia)

Joel Ivany (Artistic Director, Against the Grain Theatre)

It was a Toronto Symphony Orchestra symphony concert where they played the overture to Lohengrin.  I was a teenager and more interested in the girl that I brought to the concert than the list of music.  Then, this piece of music made me change my focus and all I could do was listen.  From the opening violins, it was as if their hearts were being displayed through the music coming from their instruments.  I had never heard anything more beautiful.  From a whispering, hold your breath opening; we’re led to an explosion of sound from the brass and percussion.  It was a growing swell of beauty as each musician worked together. For a non-classical music lover, I knew that I had hope. That I could listen to classical music and that it could still be an art-form that is relevant and important, not for entertainment's sake, but for affecting our core values. 

Arden Ryshpan (Executive director, Canadian Actors' Equity Association)

THE APOLLO THEATRE, LONDON, ENGLAND, DECEMBER 31ST, 2011 - There are great performances and then there are definitive performances and that is what Mark Rylance delivers in Jez Butterworth’s play “Jerusalem”. To say the performance is huge doesn’t begin to describe the extraordinary intensity and charisma Rylance brings to this alternately charming and repugnant man, who lives literally and figuratively outside the boundaries of traditional society. Butterworth and Rylance have created a character you have not seen on the stage before, a man out of time and place, both of which are about to run out on him. The performance is relentlessly physical as well, as Rylance shambles around in Byron’s bust up body, the result of his (obvious) failure as a daredevil, the one profession he was able to maintain for any length of time, other than drunken drug dealer. As intriguing a character as Byron is, Rylance’s performance is so utterly original and distinctive that I suspect many actors who have seen him perform this would be intimidated by the challenge of the role. What a fabulous way that was to usher in the new year…  

Simone Osborne (Soprano)

One great performance that I will always remember was just this past year at the Metropolitan Opera in New York City.  I was watching Anthony Minghella's production of Madama Butterfly.  Now, before I start, let me say, I know it's completely cliché that I would mention one of the most mainstream, heart on the sleeve Italian, over the top Puccini operas, at a famous opera house, and with a soprano in the scene to boot.  However, it was one of the most emotional 10 minutes I've ever experienced at the theatre.  As we reached the end of Act One, I was enjoying this beautiful production, and some lovely singing, but frankly, I have seen Butterfly live so many times, that I began wondering what I would order at intermission - a glass of white or champagne....  And then the famous love duet "Vogliatemi bene" began.  As Liping Zhang (a Chinese soprano who actually trained in Vancouver for quite a few years) began to sing the familiar opening line, I froze.  I was completely transported by the simplicity of delivery, the honesty of her words, and the beauty of sound coming from both her and the orchestra.  A few bars later, rose petals began falling from the "sky", tenor Anthony Dean Smith joined Liping in song, and my eyes began to well up.  The two stars declared their love as their voices soared over the swelling orchestra.  I was completely overcome.  I'm pretty sure the entire row of seats was shaking as I wept silently in mine.  When the lights slowly came up at the end of the act, I tried to pull myself together and looked over at my friend seated next to me.  She was a puddle of tears as well.  Neither of us said a word, or moved a muscle.  We sat through the intermission taking it all in.  I will forever be grateful for that night.  I had not felt anything that deeply for a very long time - in real life or on the stage - and that single duet reminded me of the power and importance of what we do.