In Conversation
One in a series of casual conversations with movers and shakers in our cultural community
Pam Patel oozes charm, shoots from the hip
In person she’s bright, energetic and deft at multitasking, ideal qualities to head an underdog theatre company that, 14 years after inception, still hungers for that breakthrough hit to place it firmly on the cultural radar. That’s not a diss.
MT Space — despite its considerable string of accomplishments — is David in a sea of theatrical Goliaths, an indie upstart addressing provocative social issues with impressionistic fury in an environment more attuned to big budget showboats like “Man of La Mancha” and “Lord of the Dance.”
When Kitchener’s Pam Patel took over as artistic director two years ago, the classically trained singer-turnedactor/director — who studied music at Wilfrid Laurier University — knew it was going to be a hard slog drawing a broad audience to plays about suicide bombers and Syrian refugees.
“Suicide bombers and Syrian refugees?” you say. “How could that be a hard sell?
But the tireless 34-year-old — who makes generous use of exclamation points and uses words like “super fun” — wasn’t Minister of Spirit at Galt Collegiate for nothing.
And as she tilts at windmills in her quest for MT validation and social change on a broader scale, the wheels are turning, ever so slowly, in the direction of progress.
MT’s subject matter — including your current project, “Amal” — is bold, provocative and socially significant, but I don’t see a lot of belly laughs. When are we going to get the multicultural equivalent of a Neil Simon comedy?
You’re not the first person to ask me that. We do humour! About a year ago we had the opportunity to perform “Seasons of Immigration,” a superfun piece comprised of vignettes about immigrant experiences. It was performed for an audience of recent Syrian refugees and newcomers with uproarious laughter!
On a broader scale, how do you make topics like suicide bombers
and Syrian refugees accessible to people more concerned with pithy tweets on their smartphones?
We’re all trying to figure out how to appeal to these generations following Gen X. I will say that whether you’re connected to social media, TV news outlets, the radio or the newspaper, things are happening in the world around us and information travels at lightning speed. By creating work that talks about these urgent issues, it’s inherently relevant to audiences whether they use smartphones or not.
What’s the No. 1 misconception about MT?
I’m always surprised when there are assumptions that we’re not a professional theatre company. Yes, we pay our artists. Yes, we tour the world. Yes, we have staff. Yes, we also do financial audits. Yes, we do work 9 a.m. to 5 p.m. Ha ha!
Why produce “stage to the page” improv plays over traditional scripted works?
The process generally takes much longer because we’re developing something from scratch, but I find it yields the most unexpected and beautiful results. It’s so fulfilling to be able to create a unique character you can totally take ownership of. With our latest production of “Amal,” we walked into the studio wanting to create a piece in response to the Arab Spring and Syrian refugee crisis. What resulted is a multilayered story about a family escaping a civil war and finding the ability to heal in the next generation.
How tough is it to collaborate when everyone has an ego and, possibly, their own vision?
Some days it’s really tough! And some days we just break out into laughter and act completely silly. Because the process creates a space for utter vulnerability, we can’t help but reveal our thoughts, opinions and emotions all the time. We fight, disagree and cry with each other. But we also laugh and identify with one another, which pulls us close like a family. We build friendships that last a lifetime, and sometimes change each other through the process.
As one of very few local women of colour in arts leadership positions, what kind of pressure do you feel?
Well, I certainly feel the pressure to represent but also to challenge preconceived notions and stereotypes. It’s a constant negotiation to do this while also working with “the system” to instigate change. And I’m always having to challenge what is projected on me as a young woman of colour. People always seem so surprised when they see me in action! Yes, I’m young, brown and can be a powerhouse.
You sound like a superhero.
I kinda get a little scared every time someone tells me they look up to me! It’s a good reminder that what I’m doing, what I’m creating, is making an impact. And one day I might become like my role models and pave ways for the boundaries to be pushed even further.
What are the biggest challenges in your quest to place MT firmly on the cultural map?
Raising the local profile to match where we stand on a national level. MT Space is recognized by our peers, funding bodies and professional networks as one of the crucial companies advocating for diversity and inclusion. Our work is seen as being of the highest calibre. But oftentimes, I feel as though the local community is oblivious to the fact there are world-class organizations like us right in their backyard. We aren’t the only ones. People are always talking about how to make the arts more vibrant here, but I’m not sure they realize how vibrant it already is. What isn’t vibrant is the culture of arts appreciation.
Finish this sentence: “I like to think things are changing, but ...”
Then I see the backlash and twisting of global movements like #MeToo and #BlackLivesMatter. I see people pushing against teaching their children consent and proper sex-ed through the school curriculum. I see men who have been convicted of sex crimes get voted into terrifyingly powerful positions. I like to think things are changing, and they are, but we still have a long way to go.
Let’s not mince words. What’s the biggest obstacle?
People are afraid of making space because you have to give up some of that power. Change isn’t going to happen until we acknowledge that the systems we’re stuck in are inherently racist. We need folks who are racialized, marginalized, minoritized in positions of power and decision-making roles so that new, alternative, better ways of doing things can be introduced. As long as I keep walking into a room and am the only woman or person of colour, we still have work to do.
You mentioned that a lot of cultural leaders are highly focused on “legacy” in a tone that — if I read you correctly — implied they need to get over themselves.
I think people in general are concerned with being remembered. Understandable. I think I’m guilty of that too. But if we let this feeling lead our judgment, then we lose focus of the wider community, and why we’re even doing what we’re doing. I think it’s something that always needs to be kept in check.
There’s a lot of hype about combining tech with the arts. Do these things even go together?
Sometimes I feel as though we’re forcing the two and sometimes I do see arts and tech forge genuine partnerships. But these partnerships are rare. There are barriers that prevent arts and tech from communicating and collaborating, caused by systems which silo us in our categories.
Ah, silos, my favourite topic. With everyone in Waterloo Region stuck in their own cultural bubble — universities, tech, Oktoberfest, the Symphony — how do you break through and draw a mass audience?
We can shout and scream at the top of our lungs, but I don’t think it’s going to happen on a larger scale until the influential people in this community acknowledge and advocate for what we do. These champions help amplify the voices of artists and ad hoc groups the way they’ve helped popularize events like Oktoberfest. In Malcolm Gladwell’s book, “The Tipping Point,” he mentions a shoe fad that went viral because of one influential person. This is sometimes how mass trends happen. Once we are all acknowledged as adding value to this community, then some incredible cross-pollination and collaboration can happen.
You said “What the city sees as arts and culture is actually commercial arts and culture.” What’s the difference?
Arts is often seen as something “consumed” as opposed to something crucial to the makeup of a city’s culture. When art is seen as purely a form of entertainment, it’s the mainstream that’s seen as having the greatest value, and this usually doesn’t include edgy new Canadian work. This community is full of experimental art that speaks volumes to urgent socio-political issues, but often falls to the wayside because it isn’t given the same value. Don’t get me wrong: I enjoy big blockbuster musicals — sometimes. But some of the best work I’ve ever experienced came from small to mid-sized professional companies and indie artists. And trust me, that is art that’s not created simply for consumption. We’re not just bringing people out. We’re challenging how they see their surroundings.
Here’s a cheque for a billion dollars. How will you fully realize this community’s cultural potential?
Arts is very closely tied to health and well-being. I would do what I could to bring creativity and artmaking into all sectors as a way to improve mental health. I would find a way to make live performances and exhibits accessible to everyone, and bring hands-on experiences to marginalized communities. I would also promote the heck out of the amazing festivals we have going on in the region, like Kultrun, Open Ears, CAFKA, IMPACT to encourage tourism to Waterloo Region. It would also be great to have some sort of “bridge” program for university graduates looking to pursue a career in the arts. If local philanthropists and sponsors could support internship positions with various arts organizations, these graduates would find a reason to stay and call Waterloo Region home. One thing for sure: my vision would include not one but multiple arts spaces for performing arts, multimedia arts and visual arts. This arts community is busting at the seams.
I was only kidding about that cheque, by the way.
Oh gosh, you were kidding about the cheque? ... (laughs) ... It’s like what happens when different parties come into power every four years. “Oh, here’s an increase in your funding. Wait, now we’re cutting it!”
You cite Mindy Kaling of TV’s “The Mindy Project” as a role model.
I love Mindy! She’s no nonsense and owns the skin she’s in. Imagine how inspiring it is to see a South Asian woman like her land a gig as a writer on a hit TV show like “The Office.” It’s pretty amazing to see Mindy rise as such a prominent figure in a white dominated industry while challenging stereotypes of South Asian women. She makes me feel anything is possible.
In high school you served as Minister of Spirit and organized “Bananas and Pyjamas” days. What do bananas have to do with pyjamas?
Students could wear their pyjamas to school and bring a banana which would be turned into an ice cream sundae at lunch hour.
Was this ground zero for developing your people skills?
I actually think my people skills developed before high school with my enormous family. Growing up, my family would constantly be dropping by, spending the night and having family meals. We also went on many road trips to family functions, weddings, and birthday parties.
And your performing chops?
I started singing lessons when I was in tenth grade and performed with all sorts of ensembles and for shows. I always knew I loved being on stage. Public speaking makes me nervous but there’s something euphoric about acting out life in front of a live audience I just can’t get enough of.
After all your success, your parents still tell you “it’s not too late to get a real job.” Do you want me to call and have a talk with them?
Despite what my parents might say, I know they’re so proud of me. They’re my greatest supporters along with the rest of my family. I think in some ways, they see me paving the way in my family too. It’s true that being an artist is precarious, especially as we experience changes in governments who hold different values when it comes to arts and culture. I’m one of the lucky ones who have managed to carve out full time work and occasionally even have to turn down acting gigs. But not all artists have this privilege.
What’s next on the docket, MT-wise?
“Amal” is at Kitchener’s Centre in the Square Oct. 24 to 26. “The Last 15 Seconds” (a celebrated MT milestone) is at Kitchener’s Registry Theatre Nov. 27. For details, go to www.mtspace.ca.