POSTS FROM OUR PROCESS

Maybe it’s my my history of setting up and taking down chairs every Sunday as a church planter, or the fact that I’ve moved a million times, or possibly the fact that I re-design my living space every season like I’m a window dresser at Macy’s, but I’ve never once thought of setting up chairs as a menial or lowly task. It’s something that keeps me grounded, keeps me properly humble, keeps me connected to others, and keeps me “on mission” for Seat of the Pants. And I hope it’s something the company continues to do long after I depart.

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Seat of the Pants has started working on our next and last production for the 2025/2026 season, THE BOOK CLUB PLAY by Karen Zacarias. With this show I am taking on a new role as producer.

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One of the beautiful things about being an ensemble member with Seat of the Pants is the company’s encouragement to expand our horizons. We are encouraged to learn and experience different aspects of theater - acting, producing, designing, and directing.  

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One of my favourite aspects of being an Ensemble Member with Seat of the Pants is that each season we are offered an ‘Opportunity for Growth’ where we can take on a role that we haven’t been able to explore previously, or to dive deeper into a specialty. Some of our actors have put on the producer’s hat, others have begun writing grants or tried assistant directing. Designers have stepped into stage management roles or have participated in the acting exercises throughout a rehearsal process. This season I will assist and be mentored by our Intimacy Director, Julia Fisher, on our production of The Book Club Play by Karen Zacarias.

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My pathway and passion for the performing arts may have come from an unlikely starting point.

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Similar to most theatre makers I know, I have a day job that separates what I love to do creatively with what supports me financially. As I’m sure many folks have felt before me and many will after me, I’ve found myself with a frustrating itch that I haven’t quite been able to pinpoint the origin of. A hollowness of some kind that, on good days, prowls the recesses of my conscious thought and, on bad days, consumes almost my entire waking focus and makes working that day job feel Sisyphean in nature.

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I love Dance. I love movement. My best friend has described me to several people as the most Kinesthetically Intelligent person he knows (see Howard Gardner’s Theory of Multiple Intelligences). I don’t really know about all that, but I do know that movement has become one of my favorite ways to express myself. Because of this I would be doing myself a great disservice to not bring my sense of movement and body awareness to my work as an actor.

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I walked into the rehearsal room without a map, which is not something I am accustomed to admitting, let alone doing. After years of working in the theatre, I have learned how to arrive with answers — or at least the appearance of them. I know how to read a room, how to prepare, how to make myself useful. I know the comfort of a script, the quiet authority of structure. This room only offered some of that. We were going to run through the show for the first time on our feet and play. Experience doesn’t eliminate vulnerability — sometimes, it heightens it. 

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I vividly remember how excited—and nervous—I was to design properties for my first show with Seat of the Pants: End of the Tour in 2019. I was actively seeking more design opportunities when this one presented itself, and I eagerly accepted. I hadn’t yet experienced a Seat of the Pants production, and although the company didn’t have a permanent “home” space, I quickly learned that everywhere felt like home when working with this group.

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