BWW Interviews: Alexander Devriend Talks 'Once And For All...'

Once And For All We're Gonna Tell You Who We Are So Shut Up and Listen. Yes, it is a very long title. However, it's extremely appropriate. The newest show to come to Harbourfront Centre as part of the very popular World Stage line-up is a moving piece of physical theatre from Belgium's performance group Ontroerend Goed. The piece is comprised of thirteen teenagers who struggle with various issues of youth and adolescent rebellion, and so in a way, the long and convoluted title is well suited to a chaotic show that tells the story of a very turbulent time in everyone's life.

The show comes to Harbourfront's Enwave Theatre February 16th - 20th. It has taken the world by storm, winning Fringe First, Herald Angel and Total Theatre Awards in Edinburgh and touring Australia, Europe and the United States. It is directed by Alexander Devriendt, who took some time to talk with BWW about the show and what it means to him:

You have said before that you created this work because you feel teenagers are under-represented in theatre, what kind of message are you hoping to get across to young people who come to see the performance?

First of all, I would like to say that the show is directed at the teenager inside everyone, and in that way it's not only for young people, but aimed largely at adults. I wanted to make a performance with youngsters that was for an adult audience, and also something where young people could recognize themselves.

Regarding the message I would like to get across, it really is mainly to "shut and up and listen" to them, and see how you feel about it when you do. A lot of adults will say that they long to re-experience their childhood but not their teenage years, and I feel those are the years that should really be cherished. A lot of people see those years as an age where they are happy when it's over. However, that attitude breeds a society without rebellion.

It isn't necessarily that teenagers are under-represented in theatre, but I wanted to look in a positive way at the destructive nature of that particular age. That is something I think has been missing in any work I have seen on stage with youngsters.

In an interview you stated that teenagers often miss out on that wonderful part of their youth because they are too busy wanting to be adults, and now you work every day with a group of teenagers living an atypical life because they are on the road touring with this production. Do you feel the production gives them a chance to live out some of that teenage rebellion in a more "safe" environment?

Yes. Although the performance space isn't the only real safe place I provide. I have tried to create that everywhere, including in the rehearsal space, I have made it a place of freedom. When I was young I didn't have a place like that so I went looking for it in other areas. I remember some abandoned houses I could go to with my friends. A lot of teenagers will go looking for it, and find it in dangerous places.

This show has been all over the world, how have the reactions differed between countries? Have you been particularly well received in certain areas?

When we first started touring, I think I noticed differences much more than I do now. I remember that when we were in the UK I felt that the show had a bigger impact socially than artistically, but now after touring in several different countries and continents in the Western World I can't help but notice that most people react in the same way. It's hard to believe that a production from our little town in Ghent could make such a connection with teenagers from other countries. We just had an amazing run in New York, and now I believe more and more that teenagers all over the world feel the same power inside themselves, and they all recognize that this is a big metamorphosis in their life.

One very successful show about teenagers was the recent adaption of Wedekind's Spring Awakening that won the Tony and played on Broadway - however, that show was relatively tame in comparison to yours. How does physical theatre such as Shut Up And Listen differ from something like a traditional musical theatre production that is trying to explore the same issues (growing up, adolescence, sex and sexuality, drugs, rules etc)?  

I never wanted to push my vision, and often worried during rehearsals about some of the stuff I would see or hear, but I always tried not to interfere and worked on simply trusting them. We had this one simple rule: don't hurt anyone that doesn't want to be hurt.

I think the openness on my part helped to push some boundaries. I have never worked professionally with youngsters before so I wasn't aware of the rules, and in that sense, I couldn't really worry about breaking them.

Music plays an integral role in this production, did you have assistance choosing the music and what made you decide on such bold and diverse choices such as the ones we will hear in the show?

From the very beginning, I knew I wanted to make a connection with more than just the current generation and its teenagers. I felt that teenagers from every generation dealt with the same issues. Because of this, I wanted to use songs that defined the rebelliousness of each age. Peggy Lee was a pretty bold song from the time of my grandmother, and my father's generation had Velvet Underground. My teenage years were influenced and connected with Monster Magnet. And the last song is rebelliousness in its positivity - Explosions in the Sky - and it is essentially from right now.

What are some of the unique challenges of not only working with such a young cast, but traveling the world with them as well?

It was hard to find a balance between being the "adult" and providing the guidance role and also being one of them. I try not to interfere with their choices and behavior, but sometimes I try and be there for guidance, almost like an older brother. I like to try and show them a positive way of dealing with things.

You have said this production won't be able to continue much longer because the kids are getting older, have you given any thought as to what you might like to do next?

Since this production started, Ontroerend Goed has made three other plays, so I haven't had much time to think about them. But regarding "Once and For All," I have felt from fairly early on there was more to tell.

Because of this, we began working on "Teenage Riot" which is a play about the right to not be okay with how things are. A teacher used to say to me when I was young "You can say don't agree with things, and you don't have to give an alternative." This is something I wanted to focus on because I think too many people are scared to speak up if they don't have a solution.

Anything you are hoping to get to see or do while you are in Toronto? Or anything the cast is looking forward to?

Some of the actors want to go skiing but I hope the 'break a leg' mantra will stay figurative. But every city we went to I just love to feel it, to walk around and get a feel for the city. For me, that is the beauty of touring.

Finally, what do you hope people will take out of this experience? What is it that you hope it will get people really thinking/talking about?

I can't really answer that, because the performance has to speak for itself. If I were to put it into words, instead of letting people feel it when they experience it, it wouldn't be the same.

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When and Where?
Once And For All We're Gonna Tell You Who We Are So Shut Up And Listen
Enwave Theatre, 231 Queens Quay West

Feb. 16 - 20, 8 p.m.

Tickets: $30

Complete information about performance times, single tickets, packages and the
Performance Card ($15 tickets for arts workers and students, Tues. - Thurs.
performances only) is available through the Harbourfront Centre box office by phone at
416-973-4000, or harbourfrontcentre.com/worldstage.

 

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