I'd Run Through a Wall for Val
What it's like to do a show with Val Russell directing Mamma Mia, and why her approach to connection, family, and theatre makes you want to give everything you've got.
One of the reasons I was intrigued about doing a show this year was the opportunity to work with Val Russell. I'd heard many things from actors who'd worked with her, and of course I've seen shows that she's created. I was excited for the opportunity to be part of one myself. Also, I got the feeling it would just be fun. What I didn't expect was the level of connection that she brings to the entire team.
Val dedicates a huge chunk of herself to the production, all the way from marketing and putting up posters all over central Ontario ("Joel, I met your cousin at the library in Colborne. She's bringing her sisters to the show!"), to working closely with actors and helping each person through the process of bringing their character to the stage. Part of that dedication is mentoring the next generation of directors. Val has been working with assistant directors Anthea Goodwin and Evan Soutter throughout this production, preparing them to direct future shows for the Northumberland Players.
As an actor, I rely on my instincts initially when moving through a scene. I want to take what my scene partners are giving me, and I want to send signals to them for what my intentions are. That's all body language, but if it's really working, it can be on a deeper level. When I watch Val directing a scene, she taps into that flow of energy from the audience perspective and reflects back what she's feeling moment to moment. It means that, as an actor, I often can tell what she wants in terms of a vision without having to even talk about it.
I can't see what I look like on stage. I can't imagine ever directing myself in a production. I also don't really want to be told "move here on this word, move there when this happens," although sometimes that's necessary.
What I really want is to feel like I'm not acting at all. I'm just this character experiencing whatever is happening for the first time. As a director, I feel like Val is tapped into that mode of expression. Interestingly enough, I find it easier to write about than to talk about. When I watch Val experience a scene that I'm not in, I can often see her lips moving and her eyes fluttering from place to place. She's going a mile a minute in her head, which I can understand. She knows she's only got a limited amount of time to try and get each moment right.
Recently we did a fairly informal run-through of Mamma Mia at the Sculthorpe Theatre with our band. It was a pretty joyous opportunity; it kind of felt like a rock concert at times, which was fun for me! One of my favourite things was watching Val with her grandchildren as they danced together and watched the actors doing their thing.
Val's dedication to family as part of her work with this show and the Northumberland Players as a whole is an inspiration.
After doing this show, I can safely say that I'd run through a wall for Val. Thanks for the music.