Jacob MacInnis is Dionysus in Dion, "a sensory experience"

8 Feb 2024 - Black and white photos by Dahlia Katz, colour photos courtesy of Jacob MacInnis

The announcement of a new musical inspires cautious optimism. A new musical based on an ancient Greek text full of orgiastic sex and violence is even more intriguing. However the list of creatives, onstage and off, makes Dion a must-see, further enhanced by the pedigree of the producing Coal Mine Theatre. Unable to wait until opening night, I was fortunate to be able to ask a few questions of Jacob MacInnis who is creating the title role of Dionysus.

Drew Rowsome: So far in your career, I’ve been lucky enough to seen you in Pinocchio and Alice in Wonderland. How does it feel to be doing something more adult? How much more adult? 

Jacob MacInnis: Well Dion is quite a bit more adult than a lot of my past projects, but what I love about theatre is that no matter what show, there is always an element of accessing the child in all of us—suspending disbelief and using imagination is my favourite element of theatre. But like I said, this one in particular is definitely for a more mature audience . . .

The press release references the original The Bacchae by Euripides and The Rocky Horror Show. How does Dion manage to do justice to those two classic texts?

Jacob MacInnis: I think the combination of lyricist Steven Mayoff and composer Ted Dykstra is where we get that balance of tragedy and irony through the poetry and the music. And to have Peter Hinton-Davis at the helm with his wealth of knowledge, it is very clear all three have a deep understanding of the source material and artform itself. 

The press release also makes several references to “gender and sexual fluidity.” Dionysus was the god of wine, fertility and religious ecstasy. How sexy is Dion going to be? How are you adjusting to becoming a pansexual sex symbol?

Jacob MacInnis: I think what makes Dion sexy is their unpredictability and their attitude towards life and love and sex. They invite us all to let go and give in to our urges without shame. I would not go so far as to call myself a sex symbol - haha - but this cast and creative team sure do a good job of making me feel close at least. 

Coal Mine has an unbroken track record of producing shows that are critical successes but that also sell out. How will Dion appeal to the discerning audience that Coal Mine has built up? The grey-haired members of that audience?

Jacob MacInnis: I have a feeling this show will reach audiences of all walks of life, in big part because of how accessible this music is. Ted Dykstra (Rumours, The Father, Hand to God)  has written a show full of earworms, tunes you can hum as you leave the theatre. It has been a while since I have seen a new work I could say that about. The lyrics by Steve Mayoff are at times so rich and profound in their poetry, and then on a dime can switch to equally playful and cheeky. There is a lot to love. There are some powerful songs in this show with equally powerful performers giving them life.

Logistically and sonically, how are you going to stage a musical in the intimate Coal Mine space? They did stage Rumours in their former space and there is undoubtedly a certain parallel to the antics of Fleetwood Mac. How does your Dionysus compare to Stevie Nicks in terms of debauchery?

Jacob MacInnis: I think the intimacy of the space only serves to fully submerge the audience into the world of the show. Bob Foster is a Canadian treasure and, through his music direction, has done a beautiful job tailoring the music to this unique space. An acoustic rock opera is a tall order but I think the team has risen to that challenge beautifully. It really challenges the actors to lean into our training with a focus on diction and projection and story telling. And, like Stevie, I know there is a "witchy woman" deep inside all the players on full display.

Dionysus is the god of theatre. Is that giving you any pressure? Can you feel his spirit guiding you?

Fortunately no. What makes theatre my passion is that it is, to its marrow, a collaborative art form. I am fortunate enough to be surrounded by some of the best talent our country has to offer so I am given everything I need to rise to the challenge. It also doesn't hurt that Dion and I are so alike (well, minus a few murderous tendencies) so I am able to bring a lot of myself to the part.

Dionysus is also the god of madness and ritual insanity. Is that giving you pause? Influencing your choices? 

Jacob MacInnis: It feels as if there is an element of ritual insanity to theatre itself, especially in its creation. Being an artist, it certainly feels at times as if I have flirted with "madness," so I think I understand what that feels like. I can't speak for all artists but I'd wager many feel the same way. 

Ted Dykstra the composer did a stint as Hedwig in 2001 that was, at the time, just ahead of its time. What stylistic advice has he given you? 

Jacob MacInnis: What I wouldn't give to see Ted as Hedwig! I mean, much like Hedwig, what I adore so much about Ted, and what I believe is a trait we both share, is a deep passion for what he does. We have workshopped this piece over the span of years and our mutual respect for and understanding of each other has only deepened. I know how much he cares about this work and about his craft, I think now he knows just how much I do too. He trusts me with his baby, and it is truly a gift that I cherish.

What musical genres does the score draw upon? Do you have a favourite musical moment? An 11 o’clock number? 

Jacob MacInnis: This score is a blend of many styles of music, but certainly rooted in the rock opera style. It is really hard to describe actually, at times it shifts from sweet ballads to pulsing chants to funky mid tempos all in the span of minutes, but there remains a musical through line or DNA that ties it all together. I don't know how Ted does it. I have a hard time picking a favourite tune (anything sung by the legendary Satie is a spiritual experience) but I'd have to say the very last number in the show is one of the best I have ever gotten to sing. "Moment to Moment" is one of those songs that seems to have crawled right into my brain and exposed what's inside for all to see. I think Steve really captures what it is to be human and I am very lucky to be able to sing those words.

Director Peter Hinton-Davis (The Last Epistle of Tightrope Time, The Hooves Belonged to the Deer, The Man That Got Away, Bombay Black)  has given us some epic explorations of the queer experience, notably on the operatic stage. Does Dion have a grand visual plan to match the theatrical passion? 

Jacob MacInnis: Working with Peter has been a career highlight for me. Just when I think I know what something is, there is Peter to blow my mind with an offer that completely challenges how I approach the work. I could listen to him speak and watch him work for hours, what a deep well of knowledge and experience. In this process I submitted to his vision fully because I trust and respect him totally, and I think that has led to a theatre experience I can safely say I have never seen before. This show challenges the audience to experience the story in a totally new way. Leaning into the tragedy and the operatic nature has made it a sensory experience. I really could gush for hours, but I will end by saying that working with Peter Hinton-Davis has made me a better actor and I am forever grateful.

What is the most intriguing thing you’ve discovered in rehearsals?

Jacob MacInnis: Rehearsals have served as a beautiful reminder that power is given, not taken. I could feel this immense pressure to play a god who is adored, a leader of a cult, and a sex symbol, but all that work is done by the actors who surround me. Each one of them takes a bit of that burden off my shoulders by making me feel respected, cherished, beautiful and powerful. I am blown away by the talent of my colleagues. Particularly working opposite Allister MacDonald (Angels in America, Stage Mother) playing Pentheus has allowed me to experience just how deeply the trust in and respect for a scene partner can go. Working with Allie is a dream. 

What do you think audiences will find the most surprising about Dion? 

Jacob MacInnis: All I can tell audiences before they see our show is to come with an open mind, open ears, open eyes, and an open heart. And in the spirit of Dionysus, unless you are sober like myself, a little wine never hurt.