In 2014, I realized a long-held dream and travelled to Ontario for the Stratford Festival where my son, Elliott Loran, was performing in his first season.
Elliott is a graduate of the Canada College of Performing Arts (CCPA) and it hadn’t escaped my notice that three other graduates—Matt Alano, Matthew Armet and Galen Johnson—were also members of the company. It’s a distinct honour for CCPA, a relatively small college situated far from the major action of centres like Toronto and Vancouver, to have this number of alumni in a season. I wanted, if possible given their very hectic performing schedules—Matt, Matthew and Galen were in Crazy for You, and Man of La Mancha while Elliott was performing in Christina the Girl King and Alice Through the Looking Glass—to interview all four about their experiences at Stratford, their careers, and advice they might have for current students.
It takes skill, hard work, perseverance, and a little bit of good luck and timing to become a member of the Stratford Festival company.
Elliott Loran, Matthew Armet, Galen Johnson, Matt Alfano
What made you decide to audition for the Stratford Festival and how did you arrive here?
Galen:
It took 5 years to get here, it wasn’t a quick process. I kept seeing myself here—until I was. (2014 was Galen’s third consecutive season).
Matt:
I was invited to do a workshop of Moby Dick and that led to work on the show here in 2008, as well as on The Music Man. 2014 was my 5th season—I have come and gone depending on the work that is being mounted in a given year.
Matthew:
For me, it was luck and timing. If the Stratford production of Jesus Christ Superstar hadn’t gone to New York in 2011, I might not have been cast in 42nd Street in 2012. Cross-casting (every company member is in at least two productions) is difficult. (2014 was Mathew’s 3rd season)
Elliott:
Cross-casting is monstrous. There are12-14 shows and 4 tracks (Shakespeare, Musicals, Modern, Classics). You might be suitable for one show but not for another. I had five auditions in 2013 prior to being selected for the company.
What was your biggest realization about the Stratford Festival?
Matt Alfano:
For me—it was how big the place is. The scale of the Festival. The first show I saw here was Guys and Dolls in 2004 and the stage was so cool.
Editor’s note: over 130 actors are employed in the Stratford Festival company. In 2010, a Conference Board of Canada Study found the Festival generated $139.8 million in economic activity, $75.6 million in taxes to all levels of government and 2,957 full-year jobs. (source: The Stratford Festival website)
Matthew Armet:
I was struck by how soon work starts on shows for the next season. One season is barely finished (in October) and the director, designers and crew are already working on the next. Everyone is so passionate about what they do. As an actor, you are really the last piece in the puzzle.
The demands of the musical company are very different than the theatrical company—very specific skills are needed and they can be different between the musicals that are staged in a given year.
Galen Johnson:
I thought “Finally, I’m here!” I was impressed with how much of a family there is at Stratford and how you can build a life here—it’s a particular type of lifestyle.
Elliott Loran:
I couldn’t believe the resources that were provided for each actor. An example would be at one of my fittings. I made a comment and the costume team incorporated it. Issues are resolved quickly—the focus (from my perspective) is on the person onstage. The Stratford Festival is a gem because you have 8-9 months of work.
All four actors note that in the performing arts world in Canada today, there are few opportunities—with the Stratford Festival, the Shaw Festival and Mirvish productions being the exceptions—to work on large scale productions with big budgets. The industry is gradually moving away from a star system to one of independent productions. Skills are increasingly important. In the past, performers could learn on the job. Today there is less work. People need to be prepared.
What is your advice for current students?
Galen:
- Learn to do everything possible.
- Go to Toronto and get an agent.
- Try big and go from there.
- So many people get hired but not re-hired. Have good relationships with the people you are working with.
- The arts community is a small community. You have to be where the action is.
- Working in the field can be easier than school.
Matthew:
- Learn to play an instrument. I’m learning guitar.
- Dance is what keeps me in the room and singing gets me the job.
- For ensemble work, I was always trying to be perfect until someone said “your flaws are cast-able; your characters have flaws—you can use your flaws”.
- Career management skills are so important. Develop a partnership with your agent.
Matt:
- Never stop learning; be a sponge.
- Practice your audition material but be as natural as possible.
- Be yourself; don’t over-analyze.
Elliott:
- An audition is a rehearsal, not a performance; a director might think you are too perfect and have no room for you.
- Be honest; know your castability. Don’t waste a casting director’s time.
- Don’t lie (about your skills).
- Don’t take “no”; keep submitting—it shows your determination. A director once told me “So many people don’t come back”.
- Learn to live with the rejection. Don’t put people behind the desk above you.
All four mentioned their willingness to help current students with questions they may have about the steps after college. Interested individuals can simply contact me here and I will be happy to put you in touch.
Being able to immerse myself in a week’s worth of theatre, and applaud young performers—who I had originally seen onstage at the CCPA Performance Hall and Victoria’s McPherson Playhouse—tapping up a storm (Crazy for You) in the 1826 seat Festival Theatre, treading the boards in the 1090 seat Avon Theatre (Man of La Mancha and Alice Through the Looking Glass) and appearing in a English language world premiere (Christina the Girl King) in the intimate space of the Studio Theatre (250 seats) was simply magical.
It’s not only the artists who remark upon the very special atmosphere that exists at Stratford—I found a welcoming community, from shop-keepers to locals, performers to creative team and volunteers (over 200). There’s a thriving local food movement (Huron and Perth counties are home to a large number of pork producers—and even a Bacon & Ale Trail) with restaurants for all budgets; history around every corner (the number of heritage buildings and tours is impressive); and beautiful greenspace and gardens—Stratford is very walkable.
I took full advantage of the many tours and events organized by the Stratford Festival, Stratford Tourism and the Stratford City Centre Committee—there is a full range of options, from free to ticketed—and can’t recommend enough that future visitors consider spending a few days to connect with the community as well as indulge in world-class theatre.
In 2015, Matt Alfano returns to the Stratford Festival for his sixth season in Sound of Music and Carousel, and Matthew Armet performs in Sound of Music, and is swing in Carousel for his fourth season.
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