PTBOCanada: The great conundrum for those in the arts is how to get paid, how to make a decent living or any living doing their passion here in Peterborough—or anywhere for that matter other than LA (well, actually, most are waiting tables there as well waiting for their big break that might not ever come). There are no easy answers. Do you have any suggestions?
Root: It’s a struggle, but there is money to be made out there. A few suggestions would be to seek out grants or advertisers (you’d be surprised how many people will say yes if you ask them for money). Make the best possible product/show/art you can, given your amount of time and energy. Manage your expectations on how much money you’re going to make (it won’t be a lot, especially at first) but don’t devalue your craft. Be kind and easy to work with.
PTBOCanada: You work at a Starbucks. Describe life at Starbucks. Do you get a lot of material there from interactions with customers/colleagues?
Root: There’s a reason you hear of so many artists working at Starbucks. It’s pretty ideal when you need a solid, reliable income to fund your passion projects (and, y’know, living expenses). I’m very grateful to have a flexible schedule and a boss and coworkers who understand when I need to switch a shift at the last minute to accommodate a show. It’s a fun job. You feel a bit like a scientist on a kid’s TV show. “Take a bit of formula X, a dash of this chemical mixture, just add the power of steam, and voila!” People think it’s magic. Delicious, $5 magic.
I can’t say that I get a lot of material from coworkers and customers because those experiences aren’t always the most relatable. I refer to them as “new girlfriend/boyfriend stories.” They might be a big part of your day, and you may want to tell people all about every little thing, but you can’t expect them to care to the same degree you do because they’re not as involved as you are. And, I mean, we’re making coffee. It’s not a monumental achievement of the human spirit.
PTBOCanada: OK, where do you get your material from for screenplays, etc.? Conversations? Books? Pop culture? Observing? Imagination? Jotting down notes?
Root: All of the above! I subscribe to two theories when it comes to writing: first, you need to use everything—your own life experiences, news stories, novels, movies, TV shows, art, everything—and draw on those things to inform your own ideas. Not that you borrow and steal, but that you allow yourself to be inspired by the world and the things in which you are interested. Second, you need to think deeply on a subject, and then forget it. An idea will surface. I usually go through phases of absorbing and digesting other people’s work (in the case of Crime City, it’s reading old detective stories and comics, listening to old radio dramas), and then going for a long walk or a bike ride and just letting your mind wander. Jot things down so you won’t forget them, and once you’ve got a good amount of paper scraps and emails you’ve sent yourself, set aside some time to put them in order. A lot of the time I spent trying to write was thwarted by my lack of time spent just wandering and wondering beforehand. You’ve got to come to the table brimming with ideas.
PTBOCanada: Your wife Sarah is a teacher. What does she teach you about life?
Root: Sarah has taught me wonderful lessons about hard work and commitment, but also about the importance of play. In her teaching, she sets high standards for her students and demands their best work, but she also lets them know that hard times are not the end of the world. You’ve got to laugh and enjoy life and not let things stress you out. She also taught me that vacations are better when you have a plan. I always doubt her on this point, and I’m always wrong.
PTBOCanada: Who are the great improv comedians/comedians you look up to, listen to?
Root: Amy Poehler is a favourite. She speaks so well about the benefits of taking risks (not just in performance, but in life), and doesn’t let anyone tell her what to do.
•Matt Gourley, an improviser and teacher from California. Matt is a generous performer, totally weird and is the dictionary definition of “interested and interesting”—a must for performers.
•Lauren Lapkus, an improviser and actor who has mastered the ability to speak first and think afterwards. It means her scenes are always energetic and surprising. She also always comes up with justifications for her weird scene choices, so she’s a team player. Check out her episode of the Netflix special, The Characters.
•Bob Odenkirk and David Cross, creators of Mr. Show and With Bob & David. If you want to see how difficult comedy writing can be, watch the behind-the-scenes documentary from With Bob & David on Netflix.
•Paul F. Tompkins, the most well-rounded comedic performer I know of, equally at home in stand-up, writing, weird characters, impressions, improv, monologue and so much more.
•Tig Notaro, easily the best stand-up comedian working today.
PTBOCanada: Who are your influences/mentors locally that have helped you in the arts scene?
Root: Ray Henderson (founder of The Citiots, artistic director of Arbor Theatre). I simply wouldn’t have any of the opportunities in comedy and performance that I do without Ray. He’s a great believer in people, and he has a great mission of bringing fun, talented people together to have fun and show off our talents, and through him I’ve made lasting friendships with exceptional people. I’m very grateful for the work he does.
• Ryan Kerr (operator of The Theatre on King)—Ryan’s mission statement in running TTOK is that people need a place where they can afford to fail. If it weren’t for Ryan giving me a break on the cost of renting TTOK in the opening days of Crime City, I wouldn’t have been able to put on the show at all. It’s really wonderful to know that there’s a place in the city that will allow you to put on your new or weird or cheap production and see what happens with it. Want to do a show? Just do it. That’s what Ryan taught me.
• Kate Ethier. Kate is my best friend and my biggest influence in comedy. She’s a brilliant, inventive performer whose commitment to comedy as an art form runs deep. She’s constantly pushing herself to get better, to try new things, to experiment and dissect what went right, what went wrong and how to do better. Her comedy is smart, personal, and I can’t think of anyone funnier.