Since 1969, Louis B. Hobson has been a crucial part of Calgary’s theatre scene. If you’ve read the Herald or gone to a Calgary play in the last five decades, you’ve probably experienced his work.
Now 80, Hobson continues to direct stage productions and review plays. Get to know him a little better below!
Tell us more about your directing
“I love directing, and it has many similarities to teaching, such as expecting the best from students or the cast. My first direction was The King and I, then My Fair Lady. Jack Goth, Workshop Theatre’s founder, was in the cast and invited me to direct their very first play in 1969. 50 years later, in 2019, I directed it again for their anniversary, and I continue to direct for the company.” You’re also a playwright?
“My first was a 1964 comedy titled Maxwell’s Monster; I now do scripts for Calgary’s One-Act Play Festival and Fringe. My favourite work, however, was Steven: The Steven Truscott Story. He’s the 14-year-old who was wrongly convicted of rape and murder in 1960. Sentenced to death at 14, can you believe it? He was exonerated in 2007.
“I directed a three-week run of Steven in 2005 in Calgary and was invited to produce it in Steven’s hometown of Guelph in 2006. He attended opening night with his family, but asked for a low profile, slipping in after lights-down. However, I was delighted when he appeared at the reception. It ran for three weeks there, and we produced it again in 2015 at Workshop.”
How did your reviewing career start?
“Given my experience as a director, the Albertan — now the Calgary Sun — asked me to critique W.O. Mitchell’s The Devil’s Instrument at Alberta Theatre Projects in 1977. I actually knew W.O. from a writers’ workshop he ran in the ‘60s. My reviews were well received, so on it went.
“In the summers, I’d travel to several cities, including London and New York, and see as many plays as possible. During the school year, I continued reviewing and was super busy, but having tons of fun. During Christmas break, after grading report cards and reviewing Christmas movie releases, I’d go home to Blairmore and sleep for days.
“In 1987, the Sun offered me a one-year, full-time contract to cover theatre events surrounding the 1988 Winter Olympics. The school board granted a year’s leave, but the Sun extended my contract and made me permanent. I stayed for 20 years until 2008, when the Sun consolidated in Toronto. They offered me a position, but I wanted to stay in Calgary and continued reviewing on a freelance basis.”
How has reviewing changed?
“Wow, so much. Movie critics are mostly syndicated now, so there are far fewer professionals. Anyone with a blog, or even just a Facebook page, can be a critic, and it’s too easy to be, well, critical. That is, [express] negative opinions without addressing nuances such as character development, inter-actor chemistry, set design and audience connection.”
What stands out from your career?
“I was fortunate to start when critics had direct access to actors. So many fascinating personalities, and they are more human when face-to-face. For instance, when interviewing Robin Williams one-on-one, I said, ‘You’re very different from what I expected.’ Robin replied, ‘What you’re witnessing at the moment is rare. This is me not performing. Anytime there’s more than one person, I’m performing.’”
What are some other notable interviews?
“Maggie Smith in London during the stage production of Noel Coward’s Private Lives. We met in her dressing room, and she asked, ‘How long is this going to take?’ I said, ‘15 or 20 minutes.’ She said, ‘Which is it?’ [I said] ‘20.’
“Maggie pushed aside makeup as she reached for a kitchen timer and set it. 20 minutes later, after a lovely interview, the timer buzzed, and she showed me out.”
Do you have any thoughts on AI?
“Unfortunately, it’s here and not going away. However, AI will never play the lead, or any other role, in live theatre. The human experience, from playwright to set designer, director, sound techs, house staff and actors all working together to connect with the audience, cannot be done with AI. Nothing can touch the experience of live theatre, and today, we need human connection more than ever.”
Hobson directs Spider’s Web at Workshop Theatre from October 17 to 25. Find information at workshoptheatre.ca, and read Hobson’s work at postcardreviews.com.
