Alumni Outreach
Artistic Director: What it Takes

by John Custodio

The artistic directors of some of the most important venues in the country are National Theatre School Alumni. We asked three of them what it takes to be an AD, and how their training here helped them do it. Did they know back then that was what they wanted to do? And now that they’re in these important positions, shaping the future of Canadian theatre, what do they think their social and cultural responsibilities are? Finally, how do they feel about the up-and-coming generation of artists?

Ben Nind (Acting 1994)

Stuck in a Snowbank Theatre, Yellowknife

You really have to want to do this job, because going out into the world and producing theatre without a lot of community support is very, very challenging. I had to learn so much the hard way: financial management, finding sponsors, advertising, hiring – all that logistical stuff. My training as an actor at the School didn’t really prepare me for that aspect of the job. I remember only one session – one! – and it was only a couple of hours long – that dealt with finances.

As for my social responsibilities, they’re all expressed in the company’s mandate. Working with my community to bring its stories to theatrical life was what motivated me to attend the School in the first place. By witnessing the power of live performances and the potential of their own stories, our communities really benefit, so I’m happy doing what I’m doing. I have to credit one of my mentors, David Rotenberg, for teaching us the importance of this kind of work.

I’m always interested in alumni. I’m comfortable working with them. We share a language, we communicate well, and I know that they know their stuff. There’s a student in the playwriting program right now, for example, who is himself from the North. I look forward to working with him one day.

Lorne Pardy (Acting 1985)

Great Canadian Theatre Company, Ottawa

As an AD, I want to provoke questions and encourage dialogue about the society we live in and the issues we face. My generation was marked by a certain nationalist impulse to tell Canadian stories, so I believe ADs should have a solid grasp of Canadian theatre history – where we’ve come from, where we are now. They should be emotionally involved in their work, yet able to maintain a certain degree of objectivity, and they must know all of the different aspects and crafts involved in making theatre. Finally, they should have a vision for the future, for the type of theatre they want to create.

I had some of the best mentors when I was at the School, and I was exposed to some of the greatest talents. The administrative aspects of my job, however, I learned only after graduating. Back then, I didn’t think I needed those skills. I thought I’d work in Toronto, or at the Stratford or Shaw festivals. Eight years later, I found myself thinking seriously about what more I could bring to the theatre. Directing and self-producing projects followed. Eventually, I became Co-Artistic Director at Mulgrave Road Theatre, where I was able to pursue my passion for developing new plays.

I like the direction the School has taken recently. It allows for some interesting cross-pollination between programs. Students are allowed to explore and acknowledge the various parts of themselves: the actor, the writer, the designer. In my day, we were encouraged to specialize more, to really develop our particular craft.

Tibor Feheregyhazi (Technical Production 1965)

Persephone Theatre, Saskatoon

The great lessons I learned at the School were about the importance of being of service and making a contribution. That’s what makes a great artist. That’s what success means: doing what you love and serving your community.

Being an AD takes passion. Without it, nothing is possible. You have to deeply feel your commitment – to your actors, your audiences, and your art. Everything else, like finances, you can learn. I never thought I would work in theatre. Who would hire me, a Hungarian man who spoke French but no English? I had worked in theatre since I was five, back in Budapest, and I loved it so much, I was willing to wash floors if I had to. I’ve always said, even if there were only four people at the North Pole, if they had a theatre, I would work there.

I graduated from the French section in the 1960s. I witnessed the power of Quebecois theatre. My teachers were excellent: very, very committed. Being European, I found the bicultural aspect of the School (and the city) extremely congenial. My training at the School was in Technical Production, but I always wanted to direct. I was a Stage Manager for a while with the Canadian Players, but then I got work as a Production Manager with the Royal Winnipeg Ballet. I didn’t have much of a background in ballet, but they had confidence in me because I graduated from the School.

I’ve been an Artistic Director now for almost 30 years, 22 of them at the Persephone. I’m happy here. These days, my ambition is to get a new, bigger theatre for the company by 2005, when Saskatchewan turns 100 years old.

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