Shakespeare's Criminal
17 Apr 2019.

by Drew Rowsome -

Any chance to see Nathaniel Bacon on stage is an event. When it is in a workshop production of a chamber opera by Sky Gilbert and Dustin Peters, it is even more intriguing. Fortunately we got the chance to ask Bacon a few questions about Shakespeare's Criminal and the intrigue has become must-see.

Drew Rowsome: How does it feel to be the man deemed most able to seduce Shakespeare?

Nathaniel Bacon: Oh, it's an honour, I suppose. Ha ha.

This is a chamber opera and your co-stars are high powered operatic singers. You're no slouch in the vocal department from Queer Idol through Songs and Screams I, Songs and Screams 2 and Hedwig and the Angry Inch, but is opera a challenge?

Nathaniel Bacon: Well, I have been singing my entire life and while it's true that I'm not a trained opera singer, like my co-stars, I've done a vast amount of different styles. I grew up singing country, rock and musical theatre. I was also the lead singer in my high school choir and I've done a lot of gospel. So I'm used to adapting my voice for different styles. If I were heading into a pre-existing opera, I would be very nervous. But Sky provides such a creative, collaborative environment and he's very much about the fusion of different styles and the bucking of tradition, so this particular part feels like a challenge, but not an overwhelming one.

You worked twice before with Sky and were the subject of a chapter of his creative non-fiction Sad Old Faggot. How has your working relationship evolved?

Nathaniel Bacon: When I first met Sky, he cast me as the lead in St Francis of Millbrook for 4th Line Theatre. I was at the very beginning of my career and had no experience but he loved my read. We got along right away, but although he wrote that show, he didn't direct it, so I didn't spend a lot of time with him then. But we stayed in contact and he came to see me in a couple of other shows. After he watched me in Hedwig, he told me he was writing the part of Casey Donovan for me. He then directed My Dinner With Casey Donovan himself so we spent a lot more time together and developed a great working relationship. A couple years later, after I'd performed at his book launch for Sad Old Faggot he hinted that another role was in the works. That ended up being this opera . So I'm very excited to keep our working relationship growing.

What is the best aspect of working with Sky (I Cook, He Does the Dishes, It's All Tru (A Play About AIDS), The Terrible Parents, To Myself at 28, A Few Brittle Leaves, Dancing Queen, Hackerlove, The Situationists)?

Nathaniel Bacon: Sky sparks creativity and encourages brave choices so he's become one of my favorite people to work with. He pushes the envelope. And I've always believed that's what art is for

Sky seems to see you, as do most (ie: the Shakespeare's Criminal promo photo), as a sex symbol. Do you want to milk that designation or would you like to do a gritty ugly role?

Nathaniel Bacon: I'm an actor above all else and I want to stretch myself as a performer, as much as possible. I've had a certain amount of success, playing sex symbols and I have no regrets about that. It's very empowering. But it's just one aspect of what I can do and I'm looking forward to a long career of exploration and challenging myself.

You've re-interpreted two iconic roles and made them your own. How does your approach differ in creating a character for the first time?

Nathaniel Bacon: Well, performing your own version of an iconic character like I did with Hedwig and Frank-N-Furter, is all about finding a balance between what people expect/want from them and the new elements you have to infuse into them to create a unique take and a fresh delivery. Creating a character from scratch liberates you from the obligation of doing things a certain way, but it also leaves you flying blind without a reference point. In that way, when playing an original character, I tend to begin with myself and then experiment to find where the character differs from me. Then I just keep adding layers.

You added a charming and heartbreaking depth to playing Casey Donovan. What is the key to your role in Shakespeare's Criminal?

Nathaniel Bacon: My character is very elemental, very sexual and very open. So to me, the key to playing him is just staying grounded and committed and allowing the music to inform the tone.

In the promo photo you are depicted as having devil horns. Does this role allow you to draw on your love of horror? How do you feel about the genre's current commercial resurgence?

Nathaniel Bacon: This isn't necessarily what I would call a genre piece. It's more of a psychodrama/fantasy story with elements of black comedy. The devil horns are more of a nod to the ideas of good and evil as well as the concepts of temptation vs liberation. But I am personally thrilled about horror's resurgence. As a kid, was always obsessed with the macabre and often mocked for my interest. But now, times have changed and the genre can demand more respect. I think it enriches our art and storytelling and gives us the ability to delve deeper into dark concepts. I'm all for it.

Marion Newman (I Call Myself Princess) is a powerful presence as well as an extraordinary singer. Do you have to dial up the diva when on stage with her and baritone Dion Mazerolle?

Nathaniel Bacon: They're sensational. The great thing about Marion's energy as a performer is that it's contagious. She's less an intimidating presence and more of an inspiring one. So being there next to her, when she's kicking ass just makes you naturally strive for more. She's a lovely person.

Some people find opera intimidating. How would you describe Dustin Peter's score?

Nathaniel Bacon: Dustin is sensational. His music is lush and gorgeous. He really has an ear for a memorable and moving melody. And there is a huge scope to this piece, musically. However, it's very accessible and never dry.

Shakespeare's Criminal was originally slated to be part of Buddies' 40th anniversary season. The break between Sky and Buddies deserves a more nuanced conversation instead of a question, but do you feel it has affected the piece? Do you have an opinion or explanation for what happened? I have a lot of opinions myself and feel Sky got a raw deal for speaking unclearly about an important issue, it's a tough one.

Nathaniel Bacon: I don't think the change has effected the show at all. It was written and conceived of without any involvement by Buddies. They were really just serving as a venue. And Factory has welcomed us with open arms. In terms of the conflict, I think it's too complex to address in a short discussion. However, I will say that I'm never a fan of censorship. And while I may not agree with Sky on every issue, I respect him as an artist and as a trailblazer. His job is to make people think and create a discussion around important issues. And he continues to do that.

Will you be performing alongside Shane MacKinnon (Gash!, Sodom) and Helene Ducharme (Rhubarb, Musings, Music & TRANSmediations) at the Saturday night Studio 54 Memorial Voyeur fundraiser following the performance?

Nathaniel Bacon: I don't believe I will be performing, but I'll be there, mingling and having a great time.

How does disco, Studio 54 and the '70s tie into Shakespeare's Criminal?

Nathaniel Bacon: It's that whole fusion of contrasting styles that I mentioned before. The idea that the people living in Shakespeare's day and in the 70's, as well as today, for that matter, were feeling the same feelings and struggling with many of the same desires and obstacles. We're channeling that passion and frustration that defies time and celebrating the humanity behind it.

Which play from Sky's extensive oeuvre would you most like to see revived and to be cast in? 

Nathaniel Bacon: I've always had an intense love for Drag Queens on Trial. We briefly talked about reviving that a couple of years ago and it's never come to fruition. But I think that's a fantastic show that could really thrive in a remount. I would love to do it.