Interview: Jonathan Geenen
By Morgan Short, Sep 7th, 2010 | In Art
Tonight at the Shanghai Dramatic Arts Center, Shanghai's most prolific theater group, Shanghai Repertory Theater (SRT) opens Drift, an original play from Nick Rongjun Yu. The piece is a "tale of two cities that spans three generations"...
Actually, here's the rest of their synopsis, to make things easy:
"Caught in the speed of modernization, culture and memories are contested. Drift takes the audience on a journey through an alternate reality where language is no longer the biggest barrier, nor are time or generational issues. The discovery of self is the ultimate identity crisis: finding out not only who we are but where we belong in a rapidly shrinking world."
There you have it. Click here for event and ticket information.
The opening sees long-time Shanghai English-language theater staple Jonathan Geenen back directing, after moving away from the city in 2009. As the central director of EastWest Theatre productions for several years before the founding of SRT (Awake and Sing!, Our Country's Good, A Christmas Carol, The Dining Room, and a few others), Geenan is reuniting with several Shanghai stars of small stage.
SmartShanghai talked to Jonathan Geenen about barriers, identity crisis, and generational issues. Loosely.
Again, Drift opens tonight. Info here.
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SmSh: How did you come to be involved, back in Shanghai in the director's seat?
Jonathan Geenen: Rosita and I have been speaking about working on a project together that would have a life after it's Shanghai run. Drift fit the bill, and when the opening at SDAC's theater came available, we jumped at the chance to work on it together. Thankfully, SRT and Ke Center's participation made it possible.
SmSh: How are you liking being back in Shanghai? What developments in the English-language theater scene have you detected since being back?
JG: I don't know that there is a change. There are new groups popping up but a lot of the core people are the same. It's been like coming home. I haven't had a chance to see any other shows yet so I guess I can’t really comment. Although, it's great that there are a lot of new directors around. Call me biased, but I really like it when I can see other directors' work. So the city must be loving it.
SmSh: What were you up to when you left town and what are you currently working on overseas?
JG: I spent some time taking workshops in London and made my way to Toronto to direct a version of The Dining Room (which I had already directed once in Shanghai) that was nominated for a Dora Mavor Award for Best Ensemble. More workshops followed (some teaching as well), I have a Musical to direct in my hometown of Sault Ste. Marie called She Loves Me, beginning rehearsals on Monday. We will have to wait and see what is next. There has been some interest in working in Singapore as well as creating a production to bring to Shanghai but we will have to work out more details before I can talk about them. Still hoping to make it back for Drift's second run so I don’t need to direct it via skype...
SmSh: Are you encountering playwrights / directors doing interesting things abroad?
JG: People are doing interesting things everywhere. I was lucky enough to have a pretty flexible schedule and so have been able to see a lot of work that is exciting. Being a sponge is sometimes the best way to learn, and I see as much as I can.
SmSh: How has this production of Drift differed from your previous productions and experiences with EastWest?
JG: It doesn't too much. Same director with a similar cast from all over the place. Perhaps a very good example of how most of my productions work in Shanghai. Rosita [SRT's Producer] and I have a similar relationship as before too so, that makes it quite similar. Of course I am doing a very modern play but that has happened before too. So I don't know that there is a difference. Godot was a turning point in terms of venue and SRT and EWT are getting better venues all the time. So that is an amazingly positive improvement.
SmSh: What are some of your highlights in working with EastWest. Which productions are you most proud of and why?
JG: In Shanghai, I would have to say Waiting for Godot and perhaps Awake and Sing! They were two plays that weren't necessarily big box office draws that got a lot of people interested in the type of work I was creating. David Turley, Charmaine Grey, and Thomas Caron were large parts of those, so that doesn't hurt either.
SmSh: What challenges where you faced with in translating a Chinese-language piece for English-speaking audiences?
JG: Thankfully, I didn’t need to translate it. But I think SUBJECT was the most difficult thing to piece together. A lot of things remain unsaid in Asian languages that we can’t get away with onstage in English. There were a lot of sleepless nights here this month. Weighing the information that we need and trying to balance it with the tone of the play.
SmSh: What is it about Drift that makes it a relevant play for residents of Shanghai?
JG: I think everyone loves a migrant story. There are references to the city throughout and a lot of honesty regarding the pressures of living and working in China.
SmSh: Do you have plans to come back to Shanghai to direct or be a part of local theater in the future?
JG: If the chance arises, I would love to be a part. I just hope the run falls in line with the Shanghai Hockey League's season.
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'Drift' opens tonight at the Shanghai Dramatic Arts Center. Event and ticket info here.
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