Acting

Acting Videos

  • Anthony Grey on fellow actors, the Stratford Festival, and Provost Sealey (Part 4 of 7)

  • Anthony Grey on Mary Godwin and Earle Grey (Part 3 of 7)

  • Anthony Grey on the Earle Grey Shakespeare Festival (Part 2 of 7)

  • Anthony Grey on the reception, philosophy, and memorabilia of the Earle Grey Festival (Part 5 of 7)

  • Anthony Grey on Toronto theatre in the 1950s and coming to Canada (Part 1 of 7)

  • Ardon Bess on Black theatre

  • Ardon Bess on Canada

  • Ardon Bess on experimental theatre

  • Ardon Bess on film

  • Ardon Bess on growing up

  • Ardon Bess on King of Kensington

  • Ardon Bess on Maurice Podbrey

  • Ardon Bess on Oakville

  • Ardon Bess on Obsidian Theatre

  • Ardon Bess on Paul Thompson

  • Ardon Bess on performing

  • Ardon Bess on Peter Desbarats

  • Ardon Bess on Playhouse Theatre

  • Ardon Bess on Ryerson

  • Ardon Bess on standing up for oneself

  • Ardon Bess on the National Theatre School

  • Barbara Chilcott – 1 – Crest Theatre and Our Company.

  • Barbara Chilcott – 2 – coming to Canada, attending the Central School of Speech and Drama, and “blacking up.”

  • Barbara Chilcott – 3 – joining the early years of the Crest Theatre in Toronto.

  • Barbara Chilcott – 4 – Royal Canadian Navy musical revue “Meet the Navy,” VE day, and touring in Europe.

  • Barbara Chilcott – 5 – training with Josephine Barrington, the Central School, and the Straw Hat Players.

  • Barbara Chilcott – 6 – working with directors Guthrie and Langham at the Stratford Festival, and Taming of the Shrew.

  • Barbara Chilcott – 7 – criticism, the Stratford Festival, and family history.

  • Christopher Newton on identity, first auditions, and Canadian inferiority.

  • Christopher Newton on actor/directors, John Hirsch, and arts advocacy.

  • Christopher Newton on Artistic Directing at Theatre Calgary.

  • Christopher Newton on boards and theatre administration.

  • Christopher Newton on Canadian culture and Toronto.

  • Christopher Newton on Jean Roberts and Training.

  • Christopher Newton on starting out, mentors, inspiration, and childhood.

  • Christopher Newton on the Canadian myth and touring with the Canadian Players.

  • Christopher Newton on the Shaw Festival aesthetic, Derek Goldby, and programming.

  • Christopher Newton on working in the theatre, music, and the gardens.

  • Christopher Newton on working with actors, creating an ensemble, and Heath Lamberts.

  • Christopher Plummer – 01 – Working with Elia Kazan

  • Christopher Plummer – 02 – Working with Amelia Hall

  • Christopher Plummer – 03 – What makes stars

  • Christopher Plummer – 04 – What it means to be Canadian

  • Christopher Plummer – 05 – Tyrone Guthrie’s home

  • Christopher Plummer – 06 – Tyrone Guthrie as director

  • Christopher Plummer – 07 – Tyrone Guthrie and Shakespeare

  • Christopher Plummer – 08 – Fyodor Komisarjevsky

  • Christopher Plummer – 09 – Stillness vs bravura

  • Christopher Plummer – 10 – Productions of Coriolanus

  • Christopher Plummer – 11 – Ottawa Repertory Theatre

  • Christopher Plummer – 12 -Jonathan Miller’s Lear

  • Christopher Plummer – 13 – Michael Langham

  • Christopher Plummer – 14 – Method Boys (Method acting) vs Limey poofs (Classical acting)

  • Christopher Plummer – 15 – Mentor Eleanor Stuart

  • Christopher Plummer – 16 – Make Shakespeare accessible

  • Christopher Plummer – 17 – Learning to act

  • Christopher Plummer – 18 – King Lear

  • Christopher Plummer – 19 – Keeping his career going

  • Christopher Plummer – 20 – Instinctive acting

  • Christopher Plummer – 21 – Herbert Whittaker’s role

  • Christopher Plummer – 22 – How to play classics

  • Christopher Plummer – 23 – How to keep Shakespeare

  • Christopher Plummer – 24 – How Shakespeare can work

  • Christopher Plummer – 25 – How language changed

  • Christopher Plummer – 26 – His great grandfather

  • Christopher Plummer – 27 – Crossing over to film

  • Christopher Plummer – 28 – Henry V at Stratford, 1956

  • Christopher Plummer – 29 – Glenn Gould

  • Christopher Plummer – 30 – From Guthrie to Langham

  • Christopher Plummer – 31 – Five and nine

  • Christopher Plummer – 32 – First Stratford experiences

  • Christopher Plummer – 33 – Fight director Paddy Crean

  • Christopher Plummer – 34 – Fellow Montreal actors

  • Christopher Plummer – 35 – Early days in Montreal

  • Christopher Plummer – 36 – Dealing with critics

  • Christopher Plummer – 37 – Cyrano de Bergerac

  • Christopher Plummer – 38 – Coming from Privilege

  • Christopher Plummer – 39 – Canadian audiences

  • Christopher Plummer – 40 – Breaking down boundaries

  • Christopher Plummer – 41 – A speech in King Lear

  • Christopher Plummer – 42 – Christopher Plummer’s advice to young actors

  • Christopher Plummer – 43 – Adjusting his style

  • Christopher Plummer – 44 – Acquiring Techniques

  • Don Harron – 1 – starting out, Vaudeville in Toronto, and live radio.

  • Don Harron – 2 – CBC radio, Tyrone Guthrie, Katherine Hepburn, Hollywood, and London.

  • Don Harron – 3 – Aldwych Theatre in the UK, Stratford’s first season, and Tyrone Guthrie.

  • Don Harron – 4 – Stratford tent, Guthrie stories, comedy, malapropisms, and the birth of Charlie.

  • Don Harron – 5 – politics, sports, and the environment.

  • Don Harron – 6 – humour, politicians, Pierre Trudeau, and Canadians comics.

  • Don Harron – 7 – Anne of Green Gables and Charlie’s charm.

  • Don Harron – 8 – New Play Society, Hee Haw, Valerie Rosedale, and Jim Carrey.

  • Douglas Campbell – 1 – The significance of theatre

  • Douglas Campbell – 2 – How pronunciation affects character

  • Douglas Campbell – 3 – The music of speech – and hiccups

  • Douglas Campbell – 4 – Learning from Lewis Casson

  • Douglas Campbell – 5 – His directing style

  • Eric Peterson on Broadway

  • Eric Peterson on Canadian intent

  • Eric Peterson on going to England

  • Eric Peterson on imitation

  • Eric Peterson on leaving England

  • Eric Peterson on public recognition

  • Eric Peterson on technical theatre

  • Eric Peterson on the business of culture

  • Eric Peterson on the importance of theatre

  • Eric Peterson on the role of theatre

  • George F. Walker on awards

  • George F. Walker on Canada

  • George F. Walker on CBC’s development process

  • George F. Walker on directing

  • George F. Walker on Ken Gass

  • George F. Walker on producing TV

  • George F. Walker on Stratford

  • George F. Walker on television

  • George F. Walker on the Factory Theatre

  • George F. Walker on the limitations of television

  • George F. Walker on This is Wonderland

  • George F. Walker on working with non-profits

  • George F. Walker on writing quickly

  • George F. Walker’s advice for young writers

  • Gordon Pinsent on Away From Her and confidence (Part 3 of 9)

  • Gordon Pinsent on his wife Charmion King (Part 8 of 9)

  • Gordon Pinsent on Hollywood and “making it” (Part 5 of 9)

  • Gordon Pinsent on new plays, rejection, and big hats (Part 9 of 9)

  • Gordon Pinsent on starting out in Winnipeg and teaching dance (Part 1 of 9)

  • Gordon Pinsent on the arts in Canada, and talent from Newfoundland (Part 7 of 9)

  • Gordon Pinsent on the Manitoba Theatre Centre, John Hirsch, and A Gift to Last (Part 4 of 9)

  • Gordon Pinsent on Toronto, The Casino, and burlesque (Part 6 of 9)

  • Gordon Pinsent on training, creativity, and imagination (Part 2 of 9)

  • Jean Louis Roux Founding Theatre du Nouveau Monde (Part 2 of 15)

  • Jean Louis Roux on Beginnings in Stratford in 1956 (“Henry V”) (Part 3 of 15)

  • Jean Louis Roux on comparing Hamlet in English and French (1 of 15)

  • Jean Louis Roux on how to teach acting (Part 5 of 15)

  • Jean Louis Roux on Inner clown (Part 4 of 15)

  • Jean Louis Roux on the essence of being an actor (Part 7 of 15)

  • Jean Louis Roux on the importance of listening on stage (Part 8 of 15)

  • Jean Louis Roux on the influence of classical French theatre in Québec (Part 9 of 15)

  • Jean Louis Roux on the roots of theatre in Quebec (en Français) (Part 10 of 15)

  • Jean Louis Roux on translating Shakespeare to French (en Francais) (Part 6 of 15)

  • Joy Coghill on culture, the 50th anniversary of the National Theatre School, and Chicago (Part 1 of 9)

  • Joy Coghill on early theatre in British Columbia, radio, and Iris Warren (Part 8 of 9)

  • Joy Coghill on founding PAL and seniors and theatre (Part 6 of 9)

  • Joy Coghill on the Arts on the west coast and Emily Carr (Part 5 of 9)

  • Joy Coghill on the Holiday Theatre (Part 9 of 9)

  • Joy Coghill on the National Theatre School and teaching acting (Part 3 of 9)

  • Joy Coghill on the US and Canada, New York, and the 1967 Centennial (Part 2 of 9)

  • Joy Coghill on Vancouver during WWII and Alan Barlow (Part 7 of 9)

  • Joy Coghill the Ecstasy of Rita Jo, Frances Hyland, and the Vancouver Playhouse (Part 4 of 9)

  • Joyce Doolittle on being healthy

  • Joyce Doolittle on coming to Canada

  • Joyce Doolittle on her eponymous theatre

  • Joyce Doolittle on Herbie Whittaker and other favourites

  • Joyce Doolittle on performing for children and the importance of government grants

  • Joyce Doolittle on the state of theatre in Canada

  • Joyce Doolittle on the world of the play

  • Joyce Doolittle on theatricality

  • Leon Major on heroism in opera

  • Leon Major on his teaching career

  • Leon Major on learning to listen

  • Leon Major on middle class opera

  • Leon Major on music in theatre

  • Leon Major on new opera

  • Leon Major on planning the opera season

  • Martha Henry on being an actor who directs (Part 19 of 23)

  • Martha Henry on Diana Leblanc (Part 15 of 23)

  • Martha Henry on early days in Toronto and Crest Theatre (Part 14 of 23)

  • Martha Henry on English and French at National Theatre School (Part 13 of 23)

  • Martha Henry on female characters in Shakespeare (Part 9 of 23)

  • Martha Henry on her first time directing (Part 11 of 23)

  • Martha Henry on Jean Gascon (Part 21 of 23)

  • Martha Henry on Jean Gascon (Part 22 of 23)

  • Martha Henry on John Colicos (Part 2 of 23)

  • Martha Henry on John Hirsch (Part 18 of 23)

  • Martha Henry on knowing our theatre history (Part 10 of 23)

  • Martha Henry on Michael Langham (Part 17 of 23)

  • Martha Henry on Michael Langham (Part 17 of 23)

  • Martha Henry on playing in Repertory Theatre (Part 8 of 23)

  • Martha Henry on Robin Phillips (Part 1 of 23)

  • Martha Henry on taking voice lessons with Louis Spitzer (Part 7 of 23)

  • Martha Henry on the body as instrument (Part 6 of 23)

  • Martha Henry on the confidence of an actor (Part 16 of 23)

  • Martha Henry on the first class at the NTS (Part 12 of 23)

  • Martha Henry on the power of acting (Part 5 of 23)

  • Martha Henry on whether an actor wears a mask (Part 20 of 23)

  • Martha Henry on working with designer Astrid Janson (Part 4 of 23)

  • Martha Henry on working with designer John Pennoyer (Part 3 of 23)

  • Mavor Moore on Canadians’ view of American culture (Part 1 of 19)

  • Mavor Moore on Centennial projects and Charlottetown Festival (Part 2 of 19)

  • Mavor Moore on Dora Mavor Moore’s contribution to theatre in Canada (Part 3 of 19)

  • Mavor Moore on his acting career (Part 5 of 19)

  • Mavor Moore on New Play Society (Part 4 of 19)

  • Peter Wylde on Canadian culture in performance

  • Peter Wylde on commercial acting versus acting for art

  • Peter Wylde on evolving writing styles

  • Peter Wylde on humanity

  • Peter Wylde on increasing scope

  • Peter Wylde on mannerisms

  • Peter Wylde on Naturalism

  • Peter Wylde on period studies

  • Peter Wylde on Romanticism

  • Peter Wylde on Shakespearean acting

  • Peter Wylde on studying the Baroque era

  • Peter Wylde on talent at George Brown

  • Peter Wylde on the silence game

  • Peter Wylde on what acting is

  • Peter Wylde on what good acting is

  • Peter Wylde’s advice for young actors

  • Richard McMillan on Acting | British vs Canadian vs American

  • Richard McMillan on Acting vs Performing

  • Richard McMillan on Acting: Film & Television vs Theatre

  • Richard McMillan on an Actors Unique Method and Style

  • Richard McMillan on Becoming a Character

  • Richard McMillan on Borrowing from Life

  • Richard McMillan on Comedy vs Drama | Connection

  • Richard McMillan on Confidance

  • Richard McMillan on Fun and Success

  • Richard McMillan on Not Getting the Role

  • Richard McMillan on Opening vs. Closing Night and Hamlet

  • Richard McMillan on Playing Edgar in King Lear

  • Richard McMillan on Repitition

  • Richard McMillan on the Actor Director Relationship

  • Richard McMillan on The Future of Theatre: Storytelling

  • Richard McMillan on the Lord of the Rings: from Book to Stage

  • Richard McMillan’s Auditioning Advice | Trade Secrets

  • Richard McMillan’s Film Acting Advice for Young Actors

  • Tantoo Cardinal on being an activist (Part 3 of 9)

  • Tantoo Cardinal on classical Shakespeare vs. new theatre works (Part 2 of 9)

  • Tantoo Cardinal on connecting and disconnecting (Part 1 of 9)

  • Tantoo Cardinal on Indigenous storytelling (Part 9 of 9)

  • Tantoo Cardinal on Indigenous theatre (Part 8 of 9)

  • Tantoo Cardinal on opportunity and perspective (Part 7 of 9)

  • Tantoo Cardinal on overcoming cultural bias (Part 6 of 9)

  • Tantoo Cardinal on storytelling (Part 5 of 9)

  • Tantoo Cardinal on the impact a small role can have (Part 4 of 9)

  • Vera Cudjoe on attending Ryerson University, Ernie Schwartz and Studio Lab Theatre, George Luscombe and Toronto Workshop Product

  • Vera Cudjoe on Ed Smith and the Buffalo Black Drama Workshop, Who’s Got His Own, and early collaborators at Black Th

  • Vera Cudjoe on education in England, arriving in Toronto, and her nursing career.

  • Walter Learning on financing theatre (Part 8 of 13)

  • Walter Learning on philosophy (Part 3 of 13)

  • Walter Learning on physical theatricality (Part 2 of 13)

  • Walter Learning on publicity (Part 5 of 13)

  • Walter Learning on regrets (Part 4 of 13)

  • Walter Learning on taking over a company (Part 11 of 13)

  • Walter Learning on the Beaverbrook Playhouse (Part 7 of 13)

  • Walter Learning on The Dollar Woman (Part 9 of 13)

  • Walter Learning on the independence of art (Part 6 of 13)

  • Walter Learning on Theatre New Brunswick’s struggles (Part 10 of 13)

  • Walter Learning on wrestling and theatre in Newfoundland (Part 1 of 13)

  • William Hutt – 1 – Pronouncing Shakespeare’s words

  • William Hutt – 2 – The Future of Stage Acting

  • William Hutt – 3 – Our national humility

  • William Hutt – 4 – Michael Langham and Robin Phillips at Stratford

  • William Hutt – 5 – Making Shakespeare clear

  • William Needles on an actor’s confidence (20 of 25)

  • William Needles on an actors obligation to other actors (Part 7 of 25)

  • William Needles on an actors relationship with the audience (Part 8 of 25)

  • William Needles on Choosing acting as a profession (Part 19 of 25)

  • William Needles on Dealing with Nerves (Part 15 of 25)

  • William Needles on difficulties with a director (Part 16 of 25)

  • William Needles on Dora Mavor Moore and the New Play Society (Part 4 of 25)

  • William Needles on his audition record (Part 9 of 25)

  • William Needles on his theatrical dynasty (Part 10 of 25)

  • William Needles on how life experience informs performance (Part 11 of 25)

  • William Needles on how the audiences appreciation for theatre has changed (Part 14 of 25)

  • William Needles on Learning to speak Shakespeares verse (Part 17 of 25)

  • William Needles on learning to understand and speak Shakespeare’s text (Part 18 of 25)

  • William Needles on Playing Petruchio in Taming of the Shrew (21 of 25)

  • William Needles on playing the villain (22 of 25)

  • William Needles on Stratford’s 2005 “As You Like It” (Part 23 of 25)

  • William Needles on the actor’s relationship to a director (Part 24 of 25)

  • William Needles on The Canadian Players (Part 25 of 25)

  • William Needles on the core of acting (Part 1 of 25)

  • William Needles on the first days of the Stratford Festival (Part 2 of 25)

  • William Needles on the power of Shakespeare’s verse (Part 13 of 25)

  • William Needles on understanding differences in dramatic style (Part 3 of 25)

  • William Needles on working with directors (Part 12 of 25)

  • William Needles on working with Michael Langham (Part 5 of 25)

  • William Needles on working with the John Holden Players in Winnipeg (Part 6 of 25)

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