Podcast dispenses theatrical insights from the Gargoyle’s heart

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This article was published 27/03/2024 (926 days ago), so information in it may no longer be current.

If there is one skill all interviewers must develop, it’s the art of listening — following the bouncing ball of conversation and matching its arc with the excitement and genuine curiosity of a willing student.

Andrew Davidson, the host of the Live at the Gargoyle podcast, doesn’t have to fake it.

The steward of the Gargoyle Theatre, found inside a 113-year-old building in the West End, Davidson is as enthusiastic a supporter of live theatre that Winnipeg has to offer.

Five years ago, the New York Times bestselling author bought the old Mac Building at Sherbrook Street and Ellice Avenue with visions of transforming it into a new centre of theatrical arts.

A global pandemic stalled that plan, as did the since-remedied collapse of the theatre’s roof under the weight of a dense winter snowfall. But the Gargoyle, led by Davidson and Rebecca Driedger, has persevered, becoming an affordable, go-to venue for local theatre makers to test out new, experimental material, whether that be a musical about anxiety and depression by an upstart company or a free production company devised by a playwright more than 30 years into her career.

But before the shows could go on, the Gargoyle had to try an experiment of its own in order to stay active. So in the winter of 2021, Driedger, a graduate of creative communications, pitched a suggestion to Davidson.

“Let’s start a podcast,” she said.

In those mid-pandemic days, Driedger and Davidson dragged two wingback chairs onto the Gargoyle stage and positioned them at opposite sides of the expanse, separated by two microphones and quite a few more than two metres. Up in the booth, Driedger gave her signal and clicked record; over the ensuing three seasons, nearly 50 members of the local theatre community have sat across from Davidson to share their insights.

“All I do is shut my mouth and let them talk,” says Davidson, who sports a ponytail and goatee.

Live at the Gargoyle was born out of necessity and opportunity, but also from a desire to document the contributions of Manitoba’s theatre artists as they emerged from a forced hiatus, Davidson says.

In early interviews with Taylor Gregory of Meraki Theatre, a youth company, and Ben Townsley, Tanner Manson and Duncan Cox of Walk&Talk Theatre Company, there is a palpable sense of excitement and intrigue about the wide-open nature of post-pandemic performing arts.

But the podcast — which has welcomed pros such as lighting designer Scott Henderson, Winnipeg Fringe Festival manager Tori Popp, Gwendolyn Collins of One Trunk Theatre and the irrepressible playwright Lara Rae — also serves as an accessible point of education for theatre newcomers, with guests including playwright Daniel Thau-Eleff (Winnipeg Jewish Theatre’s Narrow Bridge) and actor Melanie Whyte outlining their career trajectories and sharing insights into their creative and collaborative processes.

Upcoming episodes include interviews with Erin McGrath of the Winnipeg Studio Theatre, and Trish Cooper and Sam Vint, co-writers of The Comeback, which will debut at Royal Manitoba Theatre Centre next month.

“This podcast is really just a great excuse for me to be able to reach out to people whose work I admire and say, ‘We haven’t met yet, so why don’t come on down for an interview?’” says Davidson, who was born in Pinawa and christened the theatre with the same name as his 2008 novel.

“I grew up listening to shows like The Shadow, Boston Blackie and X Minus One,” he says, referring to three radio shows that aired before he was born. More recent listening includes comedian Marc Maron’s WTF and CBC’s Play Me, which broadcasts Canadian plays. He also loves Monkeys and Playbills, the musical theatre review revue from the Village Conservatory, hosted by Paul De Gurse and Jillian Willems.

Where Davidson lacked the technical skills to produce the podcast, Driedger stepped in, using her background in journalism and creative communications to build an independent, freely available show now on the verge of the 40-episode mark.

Considering the Gargoyle’s timing — opening on the cusp of a global theatrical shutdown — the podcast is a persevering statement unto itself.

“We want to have these conversations, and we want to show that theatre is still here,” says Driedger. “It doesn’t end just because a pandemic happens.”

Live at the Gargoyle is available at thegargoyletheatre.com/podcast-1, or via Apple Podcasts and Spotify.

ben.waldman@winnipegfreepress.com