Never before had I learned about a playwright while using the bathroom at the theatre. But at South Coast Repertory in Costa Mesa, they post details about their productions for you to read in the mens room. One detail that stood out for me was that playwright Adam Bock, whose The Canadians finishes its world premiere at the venue this weekend, was born in Canada. Not in Manitoba where his play takes place, but in Montreal. I also was reminded of how important hockey and beer are in Canada.
This comes in handy so that you understand why hockey as a religion is one component of his play. The other component that very much makes up the story in The Canadians is being gay. Bock shares that with his characters.
When we spoke by phone on Monday about the play, Bock was, for the first time in months, back home in New York City. Two of his plays have had world premieres this year. In addition to The Canadians, the Williamstown Theatre Festival debuted his play Before the Meeting in August.
What is it about hockey and beer in Canada?
The crazy thing there is I don’t think there is an out gay player in the NHL. That’s one thing I thought. What if you loved sports, but then…yup. There have to be gay players. We know there are some, but that’s the culture. You have to keep it quiet. Still, it’s a little crazy. I thought what would it be like if you lived in a small town like Manitoba.
You said in a video South Coast Rep posted on Facebook that this was inspired by your first visit to Provincetown. You also stated that you had been on a gay cruise. How did your own experiences on the cruise inspire the journey for your characters?
My trip wasn’t related except for the fact that I was taken by how specific it was. I had never been somewhere like that where there was nowhere to get away. I remember it was just kind of magical.
My friend and I went together. I went with him because he had booked it a couple months before and he got a boyfriend. He didn’t want to be tempted. I was the safety net. I didn’t know what to expect.
What hit me was the night there was a white party and there were 2,000 men dressed in costumes and all the lights in the middle of the ocean. It was totally theatrical. And knowing there are certain safe spots where queer people assemble and you don’t have to look over your shoulder. I thought, put a closeted person in that situation and see what happens.
At the performance I attended there was an older gentleman who had been quiet all during the play, but when it got to the drag scene in anticipation of the white party, he started commenting. He said, “He’s into it,” or “Those shoes fit” or “That wig looks good.” What do you think provokes someone in that moment to comment out loud?
I personally think drag is so dangerous because it implies you should choose to give away your power as a man and become a woman. And face sexism. I have a feeling it is about power.
I think it’s always titillating for people to put on clothes that they consider misgender them. And to watch other people do it. It seems to make people nervous for some reason. Especially when a big strapping boy suddenly is putting on high heels and is being even taller.
There is an active conversation in theatre, film and television about whether or not gay actors should be the first offered gay roles. What is your opinion?
I do theatre because it is anti-authoritarian. That’s why I do it. I love film and television, but there’s one camera pointing somewhere that is trying to make you feel what it feels. In theatre I can’t make them look in one direction. I can’t keep them awake or force them in their chairs.
I love the idea of gay actors getting the chance to play gay characters because I think they tell a truth that I can hear sometimes. But I don’t only use gay actors for all my gay parts. Sometimes it doesn’t work out that way. Then I have to count on people’s hearts to show through.
If only gay actors could play gay characters would that mean that only serial killers could play serial killers?
I get the desire to be represented and to be open and to give access to actors that may not get access. I’ve also known a lot of gay actors who haven’t gotten to play straight parts. People think they don’t act straight enough, whatever that means. I’m not sure who gets to decide this and I wouldn’t want to be the person who had to.
You also said in that video that in Canada you are taught that you should think about the community first and yourself second and that in America it is a more go-for-it sensibility. How do you think that applies to the gay community in 2019?
What’s great about our community is that it is political and awake. I’m not sure our community gets the credit for the amount of political work it does and the amount it gives back to the general community. I know very few gay people who don’t donate or do volunteer work. I think it is actually a very giving community but we don’t get credit because we don’t have a centralized voice. I think we’re still working it out.
Playwright Caryl Churchill (Top Girls, Cloud Nine) inspires you. She once said, “You make beauty and it disappears. I love that.” With two world premieres this year, do you share her view of the creative process?
I do. It’s heartbreaking that it disappears, but it is also wonderful. There’s nothing better than to have someone come up to you twenty years later and say, “I remember that play.” And then laugh about something they are remembering. That happens all the time – which is wonderful. I wouldn’t give that up. Plays live in memory.
Main Photo: Daniel Chung and Kyle T. Hester in “The Canadians”/Photo by Jordan Kubat courtesy of South Coast Repertory
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