(The following is an article commissioned by the Praxis Theatre & National Arts Centre joint venture SpiderWebShow.)
I’m a bad interview; I’ve learnt this now, from sad experience, a frosty November morning spent at Theatre Ontario’s offices at 401 Richmond, where I’d attempted with varied degrees of success to affect the folksy, unbuttoned erudition of what we might imagine characters in a Sorkin screenplay to sound like, my feigned patois unraveling after only three questions, flop sweat beading on brow and philtrum. I was interviewing for a seat on TO’s Youth Advisory Committee, and after yammering at some length on a possible program to get young people to go to the theatre, I was asked, point-blank:
“How would you assess the demand for such a program?”
…Whereupon, having no lucid answer, I devolved into inarticulate grunts and rudimentary hand gestures. Later, slogging my way up Spadina, the question’s brisance having wiped the sun from morning’s glory, I began to wonder why, exactly, didn’t I have an answer prepared? The question, you’ll agree, is not thoroughly difficult.
Except, actually, when I parse it out, the thing just seems more and more removed and weird and unanswerable. Why need we assess the demand at all, necessarily? Isn’t our job (at least in part) as artists, theatre producers, whatever, to create demand for our work, not just to react to it?