BWW Q&A: Jonathan Kline on ART with Brampton On Stage

Curtain up on a piece of modern art: A white painting. A white canvas, with white background. White lines. How much would you pay for it? Would it matter who the painter was? Would it be art? Sia's purchase of a modern artwork sparks controversy among friends. Myra despises the painting, while Yvan's attempts to mediate lead to hilarious consequences. Winner of the 1998 Tony Award® for Best Play, the 1996 Olivier Award for Best Comedy, and multiple Molière Awards, ART is a dark comedy that delves into the complexities of friendship and the nature of art. Filled with sharp humor and insightful dialogue, Reza’s masterpiece explores the dynamics of human connection and the blurred lines between art and life... And if, in fact, the white painting is really... white.

Directed by Jimish Thakkar (12 Angry Jurors, Wait Until Dark, The Vagina Monologues), The Hive Performing Arts in partnership with Brampton On Stage presents ART with mixed-gender casting, challenging conventions and offering fresh perspectives on friendship and identity through an English adaptation of a French classic. The question lingers: Are you the person you believe yourself to be, or are you defined by the perceptions of your friends?

Jonathan Kline returns to the stage for the first time since his award-nominated performance in Staff Room (Curtain Club Theatre, 2004). Behind the scenes, he has written and produced two plays at the Toronto Fringe Festival, and won the Toronto Fringe's 24-Hour Playwriting Contest (2010).

What drew you to the role of Yvan in the production of Art?

I think Yvan is the most challenging role in the play, and I’m always up for a challenge. If I do my job right, then by the end of the show, the audience will love Yvan.

Can you describe your character Yvan and his role in the storyline?

Yvan is desperate for connection, and, tragically, his not-very-effective strategy for connecting with people is to be a people pleaser, which makes him a punching bag, and, often, the butt of the joke. His function in Art is, basically, the comic relief, but the emotional stakes for him are genuine and very high: he is at risk of losing his friendships with the only two people who bring joy to his life.

After an extended break, how does it feel to return to the stage?

It has been much more natural than I had anticipated. I was most concerned that my memory wouldn’t be as sharp as it used to be, but it’s about the same. As an added bonus, having an extra 20 years of life experience, plus learning from some incredibly talented artists with whom I’ve had the chance to work when I’ve been in the writer/producer role, has made me a much better actor than I was in my 20’s, which is exactly the way it should be.

What was it like winning the Toronto Fringe's 24-Hour Playwriting Contest in 2010?

It was easily one of the best experiences of my life. I’m a competitive person, and I really wanted it. I even trained for it. The Fringe started the contest by giving out four prompts that had to be integrated into the text of the play, and so, a few times before the day of the event, one of my friends would give me prompts and I would write outlines and opening scenes for plays based on those prompts. Winning itself felt amazing, but it was the prize that made the experience sublime: a one-time staged reading by professional actors, directed by the incredible Andrea Donaldson, who is now the Artistic Director of Nightwood Theatre. The atmosphere on the night of the show was electric – an example of the magic of theatre that I chase every time I see or am involved in a show. If anyone from the Toronto Fringe Festival is reading this: bring the 24-hour playwriting contest back!

Could you talk about your collaboration with director Jimish Thakkar?

Jimish is an incredible director, and I would work with him again in a heartbeat. I’ve often experienced directors as having a pseudo-parental role, and actors as being their pseudo-, temporary children. Actors are often trying to tap into our own childlike qualities: the ability to be in the moment, to mimic, to be playful, to engage in make-believe. Sometimes, that brings out other “childish” characteristics in us: fear, insecurity, vulnerability, pride, etc. This means that a director-as-parent often has a very delicate job, putting their ego aside and making their vision a reality using indirect influence, always being open to the contributions of their collaborators. Jimish does this superbly. He’s very in tune with the needs of the play, and also with the needs of the performers. He gives us space when we need it, guides our “play” when we need it, and brings a sense of discipline when we need it.

What do you hope the audience will take away from this production of Art?

An escape from stupidity, and from “entertainment” that asks nothing of its audience. We’re all constantly exposed to digital media trying to seduce us into mistaking distraction for entertainment. Don’t get me wrong: seeing Art should be a pleasant experience – it’s a dark comedy after all – but you shouldn’t be able to walk away from this production with a chuckle and then scroll to the next viral video. What I want for the audience is to be engaged in thought about our production, and hold on to its ambiguity for a little while.

Why must audiences come and see the show?

The answer is right there in the title of the play. If you care at all about art, then you already know why you must come see this show. And if you don’t know what I meant by that, then come to the show and find out.

How To Get Tickets

Art Presented by Brampton On Stage and The Hive
By Yasmina Reza
Translated by Christopher Hampton
Directed by Jimish Thakkar

Cyril Clark Brampton

20 Loafers Lake Ln, Brampton, ON L6Z 1X9

April 19, 2024 at 8:00 PM
April 20 2024 at 2:00 PM and 8:00 PM
April 21 2024 at 2:00 PM 

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