Congratulations on the BravoFACT grant that you received for your film Platypus! Can you tell us about the film? Thank you! Platypus is a fictional short film following Jensen Murphy (wonderfully brought to life by Nancy Sorel). Jensen, the world’s premier Human Taxidermist, struggles to find human connection as she straddles the world of the living and the dead. The film was written by Joshua Benoit and Chaz Beaudette, and produced by Jessica Gibson and Chaz Beaudette. You have been involved in creating a number of films. What was your inspiration to be a filmmaker and has being an actor influenced you as a director/producer? As a teenager I made videos with my friends in Gimli, basically emulating the CKY skateboarding videos of the early 2000s. It taught me how to create, from both sides of the camera. Being an actor has a big influence on how I direct. I find a lot of directors are sort of afraid of actors and of giving direction. Being an actor has given me a lot of confidence and ability in working with other actors. Who is a filmmaker that you admire, and why? Danishka Esterhazy. She makes the movies that she wants to make, seemingly without compromise. They’re dark and stylish and her voice shines through. I’ve worked with her as an actor a few times, and she’s very caring, clear and confident. Who is an actor that you admire, and why? Darcy Fehr. I saw him on stage a few years ago in a production of “Who’s Afraid of Virginia Woolf”, and it was the best acting I’ve seen. I’ve trained under him (as many have), and he is generous in sharing his knowledge with others who want to act. He’s humble, hardworking, sensitive and talented. When did you become an…

Congratulations on your role in Nellie Bly! Can you tell us a little bit about the part? Also, how did you prepare for this and other auditions and for being on set? In Nellie Bly I played Nurse Grupe, a sadistic nurse in a women’s lunatic asylum in the 1800s. Grupe is part of a group of three nurses that carry out the orders of the head of the hospital, Matron Grady. Grupe is the meanest of the lot and does everything that her boss tells her to do, no matter how depraved. I initially auditioned for Matron Grady, which I prepped for days, and I was called back for Grupe with only a day’s notice. I felt underprepared for the callback because I had less time, but when I walked in the room the director Karen Moncrieff was so fantastic and just let me play. As a theatre performer, I’ve often felt restricted by the camera and having to stand on a tape line on the floor and only one actor to read with. Much of the time I feel like I’m in a straitjacket at film auditions. Karen Moncrieff was the first director who said “don’t worry about where the camera is or the reader or the tape line – you just do your thing and we will follow you”. This totally released me and I think I did the most fun audition of my life. I left the room not even caring if I got the part or not because I felt like I was given permission to be free and do what I wanted. It was very empowering. I took that spirit of freedom to the set and just stayed open to my fellow actors, the creativity of the director and stayed true to my instincts.

Thanks for representing ACTRA members and adding your insight at our recent casting panel. You’ve had many years of on set experiences. Can you tell us how you prepare for auditions and for being on set? Acting is my job, not my hobby. Auditioning is a significant part of that job. An audition is also an opportunity to perform in front of an audience that is interested and invested! I approach auditions as seriously as any working day on set, and there’s no difference in the kind of preparation I do. My rule of thumb is “If I’m not ready to shoot, I’m not ready to audition.” I do what it takes to clear enough time to prepare, because there’s work to be done. I usually need 8 to 10 hours to prepare an audition, often more, depending on the size of the role. Sometimes that means cancelling family plans or social engagements and often giving up show tickets. Auditions don’t happen often in Winnipeg, so when they do, I make them a priority. Of course, preparation means a lot more than just memorizing lines. There’s a performance to prepare for and I don’t have 3 weeks to rehearse. I need to be efficient, without taking shortcuts. I do all the work that needs to be done: I break down the scene, I do research, I do character work, I learn an accent, if needed. I explore the scene in as many ways as possible. Then, I leave all that homework at home and do what I can to be relaxed and confident in the room. I show up on time (which means early) and I do my best to present a performance that is Active, Truthful and Connected. What has been your favourite or most memorable role thus far?…