In the era of digital storytelling, Steven Conde’s approach to live theatre highlights its transformative power, exploring both the light and dark sides of the human experience.
With his background bridging Filipino and Canadian theatre, Conde’s work spans from producing for the TD Amplify Series to creating children’s theatre productions at Wagonstage Theatre. He is also the founder of FlipSide Theatre Collective, which promotes Filipino representation in the arts.
Conde sat down with The Scene to talk about his background, what he’s excited about, and where he is headed with his work.
From actor to director
“I think I always wanted to direct. Even as a kid, I played with Lego pieces and created characters, costumes, and stories for them.
“It’s also about a sense of control: as an actor, you’re often at the mercy of the people behind the scenes; as a director, you realize there’s still a lot beyond your control, but I find it rewarding to help shape a show. Once you’ve built a strong foundation, you can trust the actors to bring the world you created to life.”
Across cultures
“In my experience, some traditional theatre practices in the Philippines take a more hierarchical approach to rehearsals, where directors and producers are revered, and questions from actors are less common. In Canada, I appreciate everyone having a voice in the room and being able to assert themselves.
“As a director, I’ve learned to question things more deeply — ‘Why am I doing this? Why follow this?’ Striking a balance is key — having an opinion while respecting authority.
“At FlipSide Theatre, I want actors to feel safe to create, explore, and make mistakes. In some rehearsal rooms, there is a tendency to be perfectionist and afraid of making mistakes. I prefer a culture that allows mistakes to happen, because we cultivate more creativity out of them.”
Dark Themes
“I’m drawn to plays that impact communities. For example, A Monster Calls addresses how families deal with grief. Rather than just focusing on themes specific to my Filipino background, I look for themes that resonate with me.
“I tend to lean towards darker themes — I like the contrast between light and dark. When you show the ugliness of human nature, it creates an opportunity to let light shine through.
“In terms of technique, my approach doesn’t change much between genres; I adapt more based on the people I work with. For instance, I approach direction differently with young, emerging artists than seasoned actors, though my core process remains the same.”
Young audiences
“A lot of what we do at Wagon Stage is improvisation and games. The cast plays around with their characters, finding ways to make them clear to the audience but also truthful to the role.
“A common misconception is that you must exaggerate everything — make it big and broad. Of course, you need to account for different age groups and psychological levels, but I believe in respecting kids’ intelligence. You should treat them as capable of understanding and processing complex ideas, just like any other audience.”
Competing with digital entertainment
“The level of engagement kids derive from theatre they won’t get from their screens. Theatre is three-dimensional — there are real people right in front of them. They can clap, shake hands, or even hug.
“In Calgary, children’s theatre companies are doing great work by bringing the theatre to the kids. We don’t just wait for them to come because they have so many other things to think about.
“Once a child experiences good, engaging theatre, they won’t be able to compare it to what’s on their phones. It’s just about giving them that experience.”
New directions
“I’d love to explore more devising — creating work from scratch. Usually, I work with a script, and we build from there. But I’d like to create something from just ideas, images, or questions rather than words. I think that kind of experimental theatre is something I haven’t delved into much yet.”
Why theatre?
“If you want to feel alive and you’re scared of skydiving or bungee jumping, theatre is the next best thing. Nothing beats a live performance — having a storyteller pouring their heart out right in front of you, breathing the same air, being in the same moment — that’s priceless. You won’t get that from any media. Theatre has the potential to change you in a way nothing else can. It’s powerful, emotional, and deeply human.”
Quick Takes
Three plays everyone should watch in their lifetime:
- Sweeney Todd by Stephen Sondheim, 1979
- A Monster Calls by Patrick Ness, 2018
- Noli Me Tangere by José Rizal, 1887
Work he is most proud of:
Suicide Incorporated — “I remember one audience member telling me that it changed his mind about taking his life. That experience solidified for me why I do what I do.”
Upcoming Projects 2025:
- Kensuke’s Kingdom – StoryBook Theatre, Director
- A Killing at La Cucina – Vertigo Theatre, Assistant Director
- Dirty Rotten Scoundrels – Stratford Festival (Ontario), Assistant Director
This article is part of a collaboration with Arts Commons. Together, we aim to foster more dialogue around the arts in Calgary.
To learn more about Steven Conde’s work, follow him on Instagram at @calgarydirector.
