Contest Winning Play Stirs Up Mischief At Local Theatre

Anthony Sheardown Photography.

Proving things are often too good to be true, a local play is set to illustrate the lesson with some quirky humour.

Opening on Friday, May 23, Post Productions will stage a three-week run of Kieran Potter’sCopracorn. Taking place at the Shadowbox Theatre (located at 103b – 1501 Howard Avenue,) the original play was victorious in the company’s 2024 Windsor-Essex Playwriting Contest.

Billed as a fantastical dark comedy, it’s sure to be unlike anything audiences have seen before.

“From the perspective of the set designer, I enjoy the fantastical elements of Copracorn the most,” said Producer and Production Designer, Fay Lynn. “The unique challenges of creating a ‘magical’ closet in which characters and props appear and disappear, a talking cockroach that descends as if from nowhere, etc. I’ve also enjoyed creating the look of the set itself – a cramped, grungy, filthy, broken-down apartment that somehow contains glimmers of whimsy and half-hearted hope. The script itself is a delightful balance of absurd fantasy and grim reality. The premise is otherworldly, yet relatable and grounded. It’s easy to recognize each of the characters in this story as raw and honest human beings. At the same time, it’s easy to accept that a giant shapeshifting three-eyed cow creature is walking around wreaking havoc and chaos at every turn.”

Revolving around Haris Owens, Copracorn starts with the protagonist meandering through life in his small apartment. Passing time by talking with cockroaches and feeling like a loser, the post-pandemic economy hasn’t helped as he remains jobless. With things looking bleak, the titular shapeshifting trickster appears to help Haris get his life on track. Unfortunately, it’s quickly found out that hope is sometimes deceiving and those giving it can often be untrustworthy.

Brainstorming for the show began shortly after it won last year’s playwriting contest. At this stage, different ideas were tossed around to see what might work for the production. Director and Producer Michael K. Potter knew early on that he wanted its darker and more dramatic elements to be as bold as any comedy.

Already picturing the set and how he wanted to handle the talking cockroach named Lou Gehrig’s Disease, several aspects of Michael’s vision changed before everything made it onto the stage.

Working collaboratively also added a lot to what audiences will see on opening night.

“Kieran started working on elements of the preproduction process shortly after he found out the script won,” said the director. “He began compiling musical ideas for the pre-show and intermission, along with conceptualizing the poster. He seemed to have a pretty firm idea of what he wanted to do with all of the plush toys that the production requires. There are a lot of them — it’s hard to explain.”

This involvement extended into casting as well. When talking with Michael and Lynn last summer about local actors who would suit various roles, Kieran revealed he’d been thinking of Joey Ouellette when writing the titular three-eyed cow. As a result, Post gave the actor right of first refusal for the part, and he agreed to play the character.

Turning out to be ideal for the role, focus then shifted towards filling out the ensemble cast. Even though Post had specific people in mind for certain characters, Kieran insisted they hold open auditions to find four actors, two of which to play multiple parts.

Taking place in March, it left the play with an A-list cast.

“Nikolas Prsa, who worked with us on eight productions from 2018 to 2021, ended up getting the lead role of Haris Owens,” said Michael. “He seemed to truly understand the character and that came through in a deep and genuine way at his audition. He also tends to be a generous scene partner, which we also saw at the auditions. He listens and observes well so that he can react honestly to whatever other actors do. Both Mary Grace Weir and Heath Camlis impressed us with their ability to differentiate multiple characters, making each of them unique and believable. They were also both very funny and engaging at the audition, especially as the mother/son team of Betty and Josh Taylor. Once we actually had them rehearsing together as Betty and Josh it was pretty clear we’d made the right choice in casting because they are superbly in tune with each other.”

When it came to Anya, the character was initially written as male in the script. Asking Kieran beforehand if the part could be gender swapped if an actress showed promise, he agreed. This allowed women auditioning to try out for the landlord as well.

Although it was one of the hardest roles to cast, one actress’ abilities stood out above the rest.

“For the roles of Anya, Betty, and Josh we had some difficult decisions to make after the audition,” said Lynn. “There were a few standouts for each role, especially for Anya. In the end it came down to (as it often does) chemistry and versatility. Copracorn is a balancing act of comedy, drama, fantasy and horror. Cheri Scratch (who plays Anya) can transform the expression on her face from that of a kind and doting grandmother to a terrifying serial killer at the turn of a dime.”

With a cast now in place, rehearsals began about a week after auditions. Following conversations about story and character personalities, the company then honed in on exploration and intuition.

From there, actors got more familiar with their roles to sort out how they played off one another.

“We spent the first few rehearsals getting the actors to feel out the scenes with each other,” said Michael. “They could move in whatever way seemed natural to them, speak in whatever way seemed appropriate for the character in the moment. Most of all, they could get used to paying attention to and reacting to each other. That gave us a pretty good sense of where the major story beats were, the rhythms of the scenes, the overall flow of the story, the major traits and motivations of each character.”

Luckily, actors quickly understood what worked and would be required of them. It’s allowed Post to spend the last several weeks diving into these aspects, building on everyone’s strengths while refining everything else.

This was further complemented by the playwright continuing to be heavily involved.

“[Kieran] has been at almost every rehearsal, giving notes and feedback, sometimes rewriting, on the fly,” said Weir. “He’ll help with lines that weren’t working, okaying ad libs or changes actors were throwing in. It has been an interesting (though not new to me) experience having the playwright there — especially since there are two characters I’m playing rather differently from how they were written! Actors always put their own stamp on characters, but you don’t always have the potential for the writer to leap up and shout, ‘No, no, no! You’re doing that one all wrong!’ He’s had some gentle suggestions for keeping some elements of the original characterizations, but he’s been pretty flexible overall.”

For Kieran, communication was important as he gained a new appreciation for his cast.

“There were several times that a few bits of specific advice have REVOLUTIONIZED the way an actor does a line,” he said. “Several times, there was a line or even several paragraphs that were difficult to communicate the intentionality of. How do you explain to someone that they’re reading a line too robotically but also should be more flat, rise in emotion sharply but also to think of parabola’s and invest more meaning into each word? It can be tough, but we eventually got there, and it’s often through a single statement like, ‘think of how X person delivered Y in Z movie,’ or ‘think… rubber band.’ And for some reason Michael or [Lynn] or I just say that one silly example that gets through in JUST the right way! Those moments are very satisfying. I’ve gained a lot of respect for theatre actors while being this involved in a show. That sh*t does NOT look easy.”

Another challenge came from navigating through absurdity to make Copracorn feel realistic. As the director, Michael wanted each character to be anchored by human motivations and emotions. With this in mind, he’s allowed the cast to explore exaggerated or fantastical comedy, reeling people in if they’ve gone too far. Requiring a delicate touch to ensure everyone felt comfortable, compromises were generally reached and resulted in improved ideas.

In other cases, personal experiences were relied upon to flesh out different roles.

“Despite Copracorn’s presence, Haris’ story is deeply grounded in many realities,” said Prsa. “An early part of my career was in labour market research and career coaching where one of the things you see the most are those who, through no fault of their own, have no ‘ins.’ Haris, as I portray him, is a composite of many of these jobseekers I met during this time. Through a combination of lacking support systems, personality differences, parental inequities and a host of other factors, these are people who had gotten the short end of the stick and are stuck in a vicious cycle of economic desperation.”

On the opposite end of the spectrum, it was just as essential to fully realize Kieran’s vision for Copracorn. Until the play’s conclusion, it remains obvious that Haris is the only one who can see the shapeshifting cow creature. Nonetheless, the trickster still interacts with other characters throughout the show by turning into various things such as a hat, pillow and toaster. Playing off Haris, the titular character comes off like a hyperactive used car salesman pushing and prodding him to do and try things. Being blunt that he’s there to help Haris reinvent his life, what Copracorn means is more vague and obscured, as it can be done in good or bad ways.

It’s by forcing Haris to take action that the shapeshifter creates chaos throughout the show. When it comes to others, he’s more like a devil on their shoulders, whispering into their ears and influencing things more subtly.

Because of this, even Kieran was cautious when writing the character.

“Copracorn was a tricky character to write at times,” he said. “There were so many lines I had to be careful not to cross. How real is he? Is he invisible to others? Is he devious? Is he well intentioned? Is he goofy? Is he serious? There were just SO MANY directions I played with, but I’m satisfied with the choices I made: an unstable, tricky creature with just enough charm, sass and comedic wit to operate on.”

Getting Copracorn just right is something the playwright also gives Ouellette much credit for. Touting his ability, Kieran notes how much the role was shaped through the actor’s ad-libs, ideas for movement, and energy flow. Happy with how much Ouellette has put into everything he’s done, excitement has only continued to build over how audiences will react on opening night and beyond.

When it comes to the character, though, Ouellette himself has a very simple way to describe him.

“Copracorn is like a Super Ball in a small room,” he said. “He bounces off everything, like a bored toddler trying to entertain themselves. Perhaps the most important quality for him is glee.”

Making this world feel even more realistic was sthe tage design and costuming. As the play was written with the Shadowbox Theatre in mind, the story largely takes place in Harris’ dirty and run down apartment. Remaining in one location for so long, it was relatively easy to accommodate.

Representing the show’s protagonist, it’s often used for contrast and one of the most grounded elements of production.

“The base set is raw and realistic,” said Lynn. “It has faded brick, concrete, and filthy old drywall. In every way, the set is meant to be recognizable as an apartment in a not-so-great part of town. It’s occupied by a young man living through a not-so-great part of his life. It’s all pretty standard at first glance, and it all centers around who the character of Haris Owens is. At his core, he’s an artist or wants to be. He’s a gentle and kind person, but he’s coasting through life, exhausted by societal pressures and a lack of any real opportunity to better his current conditions and build a future. Enter Copracorn, and with him an increasing brightness and accompanying madness. The character of Copracorn, the objects he transforms into, and the plush toys he creates are the only things on the stage that are gree,n with one small exception near the beginning of the play.”

Building on these fantastical elements as the play progresses, Post hired costumer Karen Kilbride to maximize the titular character’s visual impact. Working with Kilbride before, the company has enjoyed each collaboration along with her creativity.

Standing out in the apartment like it doesn’t belong, the featured costume is one of many pieces that elevates everything further.

“[Kilbride] designed a beautiful costume for Copracorn that incorporates light-catching sequins and whimsical accoutrement,” said Lynn. “It gives the immediate impression that this is a suit designed and worn by a creature who’s only playing at what he thinks humans might wear to fancy parties. Aside from Copracorn and all his green, Haris’s life and apartment are drab (mainly muted reds, browns, and beige tones). Enter Josh and Betty Taylor, who almost literally light up the room with bright oranges and pinks and pastels. In short, from a design perspective, I’d say colour association and contrasts have a large impact on the overall look and feeling of the show.”

Showing how dedicated he was to the production, Kieran also worked extensively on the show’s specialized props. This includes 30 handmade plushies, various artwork for set decor, and a special large item the company has remained coy about.

Still, diving in headfirst has created many surprises for the playwright along the way.

“I had worked behind the scenes at the theatre before, mostly doing tech, box office, or occasionally helping with sets, prop,s and photography,” said Kieran. “I had never been THIS involved. Interacting with and giving suggestions to the cast has been very neat and also overwhelming sometimes. I am not a social person, much like Haris in the play. I am a homebody that feels drained by being around many people for too long, so sometimes I would struggle to input all the information they would throw at me; asking questions, looking for advice, etc. But they’re all so great to work with. I just loved this experience.”

Combining so many aspects, the cast and crew think Copracorn will be a special production that offers those in Windsor-Essex a unique experience. From its original tone to the acting and creative visuals, everything about the show sets it apart from the rest.

Immersing everyone in this world the overall goal is to foster an emotional connection from attendees.

“This script and the cast bringing it to life have brought something unlike any play yet performed in the city,” said Prsa. “While it could be relevant anywhere, Windsor is a city that artistically appreciates stories that centre around those who are part of ‘the other.’ We take pride in being the first to bring a creative work to life. I’m very much looking forward to the emotional connections I believe audiences here and beyond will make to Kieran’s story, much like I have.”

Presented by Post Productions, Copracorn will be staged at the Shadowbox Theatre on May 23, 24, 29, 30, 31, June 5, 6, and 7. Showtimes for each performance are 8 p.m., with doors opening half an hour earlier. Admission is $25 per person, and tickets can be purchased online or at the door via cash, debit, and credit card (capacity permitting). Plushies used in the play will also be available at the box office for $15 each. Because they’re needed for the show, those wanting one can give Post their name and address, and the company will get a randomly chosen one to them after closing night.

Coming together in just over a year, everyone is excited and ready to show audiences the result of their hard work.

“I can’t imagine how this production would have come together without Kieran’s involvement,” said Lynn. “He’s thrown himself into every facet of the production he could conceivably take part in: Directing, prop building, poster design, program conception, merchandising, everything! Over the past few years living with Michael and I, Kieran has accumulated a fair understanding of how much work goes into mounting a stage production, but this is the first time he’s been actively involved in the whole process from concept to opening night. He’s been working and creating and collaborating to make Copracorn a reality non-stop, and I honestly can’t wait for audiences to see it and for Kieran to finally get to step back and enjoy the fruits of his art in motion.”