After graduating from the professional theatre program at John Abbott College, Amy found it incredibly hard to break into the theatre scene. After months of frustration and countless failed auditions, she and four of her friends decided to change their narrative and create work for themselves. Together, they went on to write, produce and perform four original works: Mask One!, Tripping Thru Oz, Clueless and Iknowyouarebutwhatami? One show was deemed, “The surprise hit of the Fringe”, and two others were picked up by Infinitheatre. Opportunities slowly started trickling in in the form of small film and tv roles and Amy happily took them. Several years passed and Amy came to the realization that the happiest moments of her career were spent writing with her peers. She once again redirected her focus and enrolled in writing courses at Concordia University. When the timing was right (and Covid was over), Amy moved to Prince Edward Island with her family. Since the move, Amy has continued to write and has even started performing again. She has proudly finished her first solo play, Highway Dust, and has co-written and directed her first short film, North Homard. She has rededicated her time to her craft and happiness, and is excited to see where she takes her future.
We made some questions for our members to know Amy Sobol better.
What are some Canadian plays every aspiring playwright or theatre enthusiast should read?
Alexandria Haber is not only an actor, dramaturge and teacher, she is also a multi-award-winning playwright. With over fifteen plays (most available on The Canadian Play Outlet) under her belt, you most likely have been in a city somewhere in Canada where one of them has been produced. I’ve seen several of her shows performed live and have also been able to read some. Housekeeping & Homewrecking, which also has been translated to French, is one of her earlier successes and has been performed many times over. One of the (many) reasons why Alexandria Haber is one of my favorite Canadian playwrights is because her plays read so effortlessly off the page. While her plays deal with emotional themes and deep relationships, she is always able to throw in a masterful one-liner when the timing is right, her scripts work as blueprints on how to write sharp and realistic dialogue. Any one of her plays would be an amazing addition to a theatre enthusiast’s mental library, but a few suggestions would be Housekeeping & Homewrecking, Alice and the World We Live In and The Silent Woman (co-written with Ned Cox).
TELL US ABOUT THE PLAYS AND/OR PLAYWRIGHTS THAT HAVE SHAPED YOUR ARTISTIC JOURNEY. FEEL FREE TO RECOMMEND A FEW MUST-READS THAT HAVE BEEN TOUCHSTONES FOR YOUR CREATIVE EXPLORATION!
Years ago, I had the pleasure of collaborating with dancer and theatre artist, Anana Rydvald. While performing with Anana, I was able to watch how her openness to take risks more often worked than failed. She taught me to laugh at myself, and how to be respectfully honest with humour.
Over time, Anana has become the “face” of mask work in Montreal, she has written three one-woman shows, Section O, Love, Child and The Silence of Sky (the latter translated into French). In all her plays, she uses mime and mask to gracefully transition from one quirky character to the next. To watch Anana Rydvald perform live in one of her own shows is a visual treat. She single-handedly takes you through a personal and emotional journey, all the while portraying several well-rounded and complicated characters. Her second show, Love, Child was recently published by InfiniPress and both Section O and Love, Child can be accessed in the National Theatre School Library.
DO YOU HAVE ANY UNIQUE RITUALS OR ROUTINES THAT FUEL YOUR CREATIVE PROCESS? WHETHER IT’S A SPECIFIC WRITING SPACE, A FAVOURITE WRITING SNACK, OR A PARTICULAR TIME OF DAY WHEN INSPIRATION STRIKES, WE’D LOVE TO KNOW THE BEHIND-THE-SCENES DETAILS OF YOUR CREATIVE JOURNEY. SHARE YOUR TIPS FOR STAYING IN THE ZONE!
My office at home is like a wonder-room, a cabinet of curiosity of sorts. The walls are lined with ephemera, natural treasures found from beachcombing, tchotchkes from childhood and once everyday objects of some great family member. I’m a collector, not just of things, but of memories. When I write, it’s so important for me to surround myself with things that can trigger a thought, an inspiration or a story.
I never listen to music while writing because I find pleasure in hearing the tapping of my computer keys. The steady clicking of the keyboard sounds just as beautiful to me as a classical sonata, or well-composed power ballad from the 80s.
The best tip someone once gave me was to treat your fingers like a perpetual motion machine, don’t stop to edit until the story is finished.
TELL US ABOUT THE SIGNIFICANCE OF PARC FOR YOUr DEVELOPMENT as a writer. WHAT WAS THE IMPORTANCE/ IMPACT OF OUR SERVICES FOR YOUR work?
When I became a member of PARC, I quickly found a place I could turn for both practical support and kinship. I have had the opportunity to participate in many workshops, from Dramaturgy to Grant Writing, to being given funds to run my own Jenny’s Table. While I always take advantage of the monthly newsletters to peruse possible opportunities, I find the most comfort in knowing that through PARC, I have found my place in the Atlantic theatre community.