Currently at the head of the Geordie Theater, an English-speaking company specializing in theater for young audiences in Montreal, Mike Payette will replace Richard Rose who is retiring at the end of the theatrical season.
The director is a two-time winner of the Montreal English Theater (META) prize. He was also the co-founder and artistic director of the Tableau D’Hôte theater and deputy artistic director of the Black Theater Workshop.
What motivated your decision to join Tarragon Theater?
Hosanna by Michel Tremblay, which was first translated into English at Tarragon in the 1970s [NDLR: et qu’il a mise en scène en 2015]. “,” text “:” Tarragon has a very strong history as a platform for writers of new plays. This theater has done a lot to make their work shine in Canada. Several pieces that artists of my generation have read and studied have premiered at Tarragon. Like Michel Tremblay’s Hosanna, which was first translated into English at Tarragon in the 1970s [NDLR: et qu’il a mise en scène en 2015]. “}}” lang = “fr”>Tarragon has a very strong history as a platform for the authors of new plays. This theater has done a lot to make their work shine in Canada. Several pieces that artists of my generation have read and studied have premiered at Tarragon. As Hosanna by Michel Tremblay, which was first translated into English at Tarragon in the 1970s [NDLR : et qu’il a mise en scène en 2015].
The Tarragon Theater, under the artistic direction of Richard Rose since 2002, had been looking for a replacement for about a year.
years later, Tarragon continues its mandate of bringing creations from different Canadian voices. I was really curious about what his next chapter would look like. What other art forms can we introduce into theater to welcome even more voices and stories and expose our audiences to other genres and other artistic values? The dance, the spoken word [création parlée], the music … how can they modulate the dramaturgy of Tarragon? “,” text “:” 50 years later, Tarragon is continuing its mandate to carry creations by different Canadian voices. I was really curious about what his next chapter would look like. What other art forms can we introduce into theater to welcome even more voices and stories and expose our audiences to other genres and other artistic values? Dance, spoken word [création parlée], the music … how can they modulate the dramaturgy of Tarragon? “}}” lang = “fr”>50 years later, Tarragon continues its mandate of bringing creations from different Canadian voices. I was really curious about what his next chapter would look like. What other art forms can we introduce into theater to welcome even more voices and stories and expose our audiences to other genres and other artistic values? The dance, the spoken word [création parlée], the music … how can they modulate the dramaturgy of Tarragon?
I want to see a multitude of voices in our theater, artists who create on the spot. The environment remains theatrical but the artistic influences will be diverse.
2022. I will officially start in Tarragon in September, from Montreal, in order to support the transition with my replacement at Geordie. “,” Text “:” It will be a long transition. I won’t be moving to Toronto until January 2022. I will officially start in Tarragon in September, from Montreal, in order to support the transition with my replacement at Geordie. “}}” Lang = “fr”>It will be a long transition. I will not move to Toronto until January 2022. I will officially start in Tarragon in September, from Montreal, to support the transition with my replacement at Geordie.
What place will you give to francophone theater?
I was born and raised in Montreal, I have a deep respect for this community thanks to which I was able to have many opportunities and a network by being established in Quebec. But I’m also curious to see what more I can do.
I would like to build bridges between Toronto, Montreal and other regions in Canada. I consider Tarragon to be the ideal partner to establish links with other companies outside the region, to discuss the art we want to create in Canada.
I’m also thinking of the new management at the Théâtre Français in Toronto. There is a vibrant francophone community in Toronto that I am curious to discover. Tarragon, in its history, has translated many plays into French. Olivier Choinière is also one of the authors in residence at the moment.
What can we learn from a Quebec or Franco-Ontarian history? or Franco-Manitoban speaking to the English-speaking public of Toronto? I would also like to look for other languages. I want to open the door to these artists and assure them that they will have a home in Tarragon.
How has the pandemic affected you?
It’s okay … ok. For our sector, the period has been extremely difficult. The managers of the companies are exhausted, we have worked very, very hard to defend the theater not only as something viable, but with a greater impact on the community.
: if we cannot dialogue with our audience, be together at the theater in the same space, how do we keep in touch with our audience who is dying to come back to the theater? “,” text “:” My company Geordie survived, we managed to continue working. But we all asked ourselves the question: if we cannot dialogue with our audience, be together at the theater in the same space, how do we keep in touch with our audience who is dying to come back to the theater? ” }} “lang =” fr “>My company Geordie survived, we managed to continue working. But we all asked ourselves the question: if we cannot dialogue with our audience, be together at the theater in the same space, how do we keep in touch with our audience who is dying to come back to the theater?
The pandemic pushed us to introspection, to redefine what prompts us to do what we do, it really reminded me of the social impact of theater.
That said, it’s a stack of crises, the pandemic, and on top of a social awakening in terms of recognition of social injustices, it has been important to redefine what and for whom we work. For me, the pandemic has acted as a hyperdrive.
What I see today is that our theater sector is on the brink of a precipice with a deep need for partnerships, collaborations, so as not to operate in silos, each in a city on its own.
