What is your role in this play, or on this production team?
Mimi LaFlamme – a mystery woman with a past
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
I’ve travelled to all 7 continents; I believe in ghosts, fairies, Santa Claus, and all the other good things; I can’t stand coffee or anything coffee-related
Which one was a lie?
I haven’t hit all 7 continents – I’m still missing South America and Antarctica but I will get there one day!
Why should audiences come see this show?
It’s exactly what people need at a stressful time of year – lighthearted with lots of laughs!
What is your role in this play, or on this production team?
Lily, the unsatisfied customer.
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
1. I have made an entire dress out of yellow pages.
2. I am named after my grandma’s favourite cat.
3. I have gone skydiving 5 times.
Which one was a lie?
I am not actually named after my grandma’s cat. Sadly.
What is your role in this play, or on this production team?
I play Etienne, Dr. Moulineaux’s loyal butler. That dedication might be more self-preservation than anything else.
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
1. I was hit by a car in Peru.
2. I’ve shaken hands with Queen Elizabeth.
3. Two women once cast a curse upon me.
Which one was a lie?
#2 was the lie, I’ve never shaken the Queen’s hand.
Why should audiences come see this show?
Audiences should come and see A Fitting Confusion because laughter is the best way to relieve stress. What’s more stressful than December in Edmonton?!
What is your role in this play, or on this production team?
I play Dartagnan, the clueless husband of the lead character’s mistress. If that sounds confusing, it gets even more complicated!
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
I’ve never driven a car.
My cats are named Pickles and Onions.
This is my first time onstage in more than 10 years.
Which one was a lie?
My cats are actually named Pickles and Tomatoes.
Why should audiences come see this show?
Farce is an incredible feat of smart writing, good pacing, and solid actors. And it’s truly something to be experienced LIVE and IN PERSON! A FITTING CONFUSION has all of this and more. I can’t wait for you to see it!
What is your role in this play, or on this production team?
Madame D’ Herblay – she really just wants her dickie taken care of
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
1) I met Mr. Dressup backstage at a concert
2) I own tow Guinea pigs named Wayne and Shuster
3) I own a large collection of graphic novels
Which one was a lie?
I wish I owned two Guinea pigs named Wayne and Shuster! How cute would that be?
Why should audiences come see this show?
The frenetic energy and constant humour will have everyone in stitches (not literally)!
What is your role in this play, or on this production team?
I play Yvonne. She is the wife of Moulineaux, who also comes as a package deal with her overbearing mother.
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
1. I can do an amazingly realistic horse impression.
2. I have a jar of teeny tiny plastic babies that I like to give to people I meet so that they will always remember the gal who gave them a plastic baby.
3. I can fit my whole fist in my mouth.
Which one was a lie?
Number 1 is the lie. My horse impression is bad to mediocre at best.
Why should audiences come see this show?
I’ve been working really hard on my disapproving scowl, which I get to show off numerous times in this show and it deserves an audience if I do say so myself.
What is your role in this play, or on this production team?
Madame Aigreville
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
My father lived to 100 years old!
I am secretly related to the Queen of Greenland!
I was an elephant in a past life!
My favourite thing in the world to do is to vacuum!
Which one was a lie?
I am not related to the Queen of Greenland, but if everyone keeps saying I am, is the fridge light on or is the fridge light on?
Why should audiences come see this show?
Let out your Inner Laugher – its been locked up too long!
What is your role in this play, or on this production team?
I play Monsieur Bassinet in the show. I would describe Bassinet as “a well-meaning friend who is an oblivious instigator of chaos.”
This show includes a number of preposterous lies. Tell us two unbelievable truths and a preposterous lie about yourself. (Or two preposterous truths and a believable lie?)
1. I have never seen any of The Godfather movies.
2. I used to play the tuba in a travelling, family band.
3. I have been in a Hollywood movie.
Which one was a lie?
I have never played the tuba. However, my family have been known to bring out country/folk music instruments after a family meal. Including autoharps, banjoes, harmonicas and even spoons.
Why should audiences come see this show?
It is a high energy, laugh out loud spectacle! If you are a fan of over-the-top characters and quick-witted dialogue, then you will be a fan of the show.
Joan Heys Hawkins is the Set Designer and Master Painter for The Realistic Joneses
What was your first show designing for Walterdale? When was it? What do you remember about the experience?
Cyrano de Bergerac (2004) This was our first — and very positive — experience with the Walterdale community, with Alex directing and me designing the set. I especially liked the ramp — it was challenging to design an abstract set that could be used to represent five distinct locations for the play.
Of your 20 designs, can you pick out 2 or 3 highlights for you? What made them highlights?
The Skin of Our Teeth (2006)
We borrowed a large turntable from the U of A, and we had a builder who was able to weld! I used a sundial metaphor for the painting of the turntable and the design of the metal sculpture pieces.
The Light in the Piazza (2019)
My design concept was a piazza with local musicians playing while tourists admired the famous landmarks of Florence. I loved the bold painting of the large panels surrounding the piazza. Altogether, there were 19 of us who painted on that set — from total newbies to very experienced painters.
Jennie’s Story (2014)
Some plays demand total realism. We were able to create a 1939 Southern Alberta farmhouse, with a working kitchen sink (with water coming out of a pump) and a plywood recreation of an old wood-burning stove.
Proof(2013)
I challenged the builders for the roof of the Chicago bungalow and back porch, and was very pleased with the realism of the set and how it changed the space on deck.
Red(2016)
The challenge was protecting the drapery from the actual painting of a very large canvas every night. I painted bricks and mortar for many hours, and had fun putting together all the elements of an artist’s studio, with the help of Geri’s old gas stove.
A Doll’s House(2017)
Although it was a realistic box set, Janet and I painted the walls, woodwork, and floor in abstract swirls to represent the cold, windy, snowy Norwegian winter. I felt this underscored the changes that transpire in the script.
There are a number of others that I are favourites for various reasons (The Lion in Winter (2008), The Mail Order Bride (2010), Rabbit Hole (2011), Next to Normal (2018) — but I’ve already exceeded the 2-3 favourites!
The Lion in Winter
The Mail Order Bride
Rabbit Hole
Next to Normal
Were there any designs that were particularly challenging? How did you overcome the challenges?
A Man of No Importance(2015) This show was challenging on two counts: it was my first set design for a musical, and there was a miscommunication that resulted in the director arriving in town to start rehearsals without a production team in place. The wonderful Walterdale community stepped up, and we all worked fast and furiously to support this show. Yes, musicians and their instruments take up lots of space, but it’s worth the effort to accommodate them. I loved the way the director worked with the set, and I was proud of the results.
What about the current show? How has this one been like to work on?
The Realistic Joneses (2022) This has been such a calm and rewarding experience, largely due to the director being so prepared and open in working with cast and production team. I’m especially fond of my velvet painting experiment for this show.
What would you say to anyone thinking about set-designing at Walterdale? Any words of advice?
Read the script. And re-read the script. Everything you need to know is in the text. Read it again. And again.
Work with the director. Share your ideas and listen to the director’s ideas. Work together to make sure you’re both on the same page of that world of the play.
Remember the actors. They need space to move freely — and safely — both on the set and backstage. The more time they have to work on set, the better your design will look.
Use your design to support the script and director and actors in telling the story to the audience. Your set design is not like a painting in a gallery. It’s a three-dimensional environment that comes alive during performance.
Communicate with production team members so all the design elements work together.
Use resources, both financial and human, wisely. Do an inventory of materials available at Walterdale before making purchases.
Embrace the challenges and beauties of the Walterdale space. Much is possible — although a higher grid often crosses my mind!
And remember that the audience doesn’t need realism. They come with experience and imaginations. They will embrace any concept as long as it’s consistent.
Hi Zack, tell us about your character in The Realistic Joneses:
Bob is in his late 30s, coping with a rare neurological disorder and the effect it is having on his life, his marriage, and his relationship with his neighbours.
What is your background in theatre?
This is my 4th show at the Walterdale. Previous Walterdale credits: A Day in Hollywood/A Night in the Ukraine, Anything Goes!, and Boeing-Boeing. I have also appeared with East of Sixty, Foote in the Door, Blackout Sketch Comedy, ELOPE, Two One Way Tickets to Broadway, and the Citadel Theatre.
What brought you out for The Realistic Joneses?
I normally like to do comedy or farce; I was drawn to this show by the writing of Will Eno, who is both absurd and incredibly realistic at the same time. Playing Bob has been a rewarding and challenging experience.
What are you enjoying the most about working on this show so far?
This play has so many textual levels. The more we dive into it together, the more I appreciate how great this show is.
Why do you think people should come see The Realistic Joneses at the Walterdale?
This is a play unlike any I’ve seen in a long time; the writing is relatable and done in a very innovative and refreshing way. Audiences will be both challenged and entertained.
Who’s your favourite Celebrity Jones and why?
Carolyn Jones! She was the TV Morticia Addams and also camped it up as Marsha, Queen of Diamonds on the 60s Batman.
