In the beginning of March I was among a group of a dozen or so actors who were taking part in an open reading of The Monument, a play by Colleen Wagner. I knew precious little about the story outside of a couple of brief monologues scattered here and there around the internet so I was completely unprepared for the devastating impact I was to experience that Sunday afternoon at the Powerhouse Theatre in Vernon.

I had originally intended to do a review on opening night, Wednesday, April 21st but I felt so strongly about the importance of The Monument that I decided an interview prior to the opening would be much more beneficial.

The interview was set for the beginning of hell week (the week before a show opening). Predictably the place was buzzing with activity but Jo Jones, the director was gracious enough to make time for me and so I will return the favour now and let her do most of the talking:

Colm: The Monument is a fictional story that was inspired by the genocide that took place in Bosnia during the early nineties but I couldn’t remember from the book if it actually touches on specifics at all.

Jo: There are a few lines which give clues about where it’s set. Also Colleen Wagner was very influenced by what was happening in Bosnia while she was writing it.

Colm: To me, I think first and foremost this is an anti-war statement is that correct?

Jo: Absolutely. Anti-genocide, anti-rape. She (Colleen) wrote the first six scenes in the white heat of anger. Then it took her two years to complete scenes seven and eight… it ends on a note of possible redemption and reconciliation.

Colm: If I was put in Mejra’s (the female lead) place, I don’t know if I could forgive.

Jo: I would hope that the humanity of each individual is recognized by the other. To a certain extent that happens in the play and I would hope that it would happen in the real world. I’m lucky enough that I’ve never found myself in that situation but it must be hellishly difficult to forgive someone who killed your child. What do you do? Do you try to understand or do you want to kill in revenge?

Colm: Who do you think this show will appeal to and why?

Jo: I hope it will appeal to all of our regulars although they won’t be coming to a piece that will be for their ‘entertainment.’ But if they have the courage to attend then they will go away with an understanding and hopefully with a small determination of some kind to try and do their bit to put an end to (war crimes, human rights violations)… genocide. If that’s possible.

Colm: What drew you to this play?

Jo: Well I’ve been aware of genocide since I was a child when I saw pictures of living human skeletons liberated from Nazi concentration camps in Poland… and that has stayed with me all my life. I love learning and that type of learning has intruded into my life all through university and even up to today. Genocides are still happening and I guess my interest in this play stems from my own inability to understand how ordinary people can be so motivated to do very unordinary things… because someone has told them to.

Colm: During the initial reading (back in March) you were adamant that you were going to infuse some real emotion into this play, are your actors up to the task?

Jo: Yes they are and more so with every rehearsal. They’re finding depths in this play that I hoped they would and these are very difficult parts. A very young, cocky soldier (named Steko played by Brennan Cunliffe) who’s about to die in an electric chair for the rape and murder of 23 woman. The other is a mother (named Mejra played by Debra Bob) who is seeking the truth.

Colm: From a directors perspective, how difficult is a show like this?

Jo: I think this is probably the most difficult thing I’ve ever done. I have a great love of comedy and that’s what I usually direct. The set is completely abstract (set designer Eugene Levesque has created a bold monolithic work of art that seems relatively simple enough but there are a couple of surprises within the structure itself that will blow your mind) and it’s unlike anything I’ve ever worked with. It’s been a challenge which I’ve thoroughly enjoyed and which I think is working very well.

Colm: Is there anything else you’d like to comment on?

Jo: When I first read this script I felt like I had been kicked in the gut.

Colm: Me too.

Jo: And I really think many members of the audience are going to feel the same. That, as a theatrical experience is fairly rare. So I hope they go away and look upon it, in a good way as something they needed to feel. And perhaps they might, I don’t know...join a group or write letters...get into some activity.

Colm: Amnesty International comes to mind.

Jo: Yes, the executives of Powerhouse have made a decision to donate up to $5000,00 from the net proceedings from this play to Amnesty International. So the people who come will know they’ve spent their money in a very worthwhile way.

Colm: That‘s great, well thanks Jo.

Jo: Your welcome, thank you.

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