Zdislaw (Zaz) Bajon

Zaz Bajon retired from the Royal Manitoba Theatre Centre in June 2011, after having served as General Manager for 30 years; he remains General Manager Emeritus of the RMTC. He was interviewed on January 11, 2011.
Q. What led you to the theatre and to the NTS in particular?
A. My life in the theatre began in grade 3, in public school! Later on, in grades 7 and 8, British actor Maurice Evans was our speech and drama teacher (coincidentally, he later acted at the MTC while I was General Manager). Some of us would work backstage during his shows. He was a big influence on me. I worked evenings and weekends in small theatres and basements all over town, wherever he and his company performed. By grade 9, I had started my own company and we were the first troupe to rent out the Poor Alex Theatre from Ed Mirvish. I was totally immersed in theatre; I read everything I could get my hands on about theatre. You could say it’s in my DNA; it’s been a calling.
After high school, I had the opportunity to be the assistant to Clifford Williams, who was at Theatre Toronto. He had been the Associate Artistic Director of the Royal Shakespeare Company, with Peter Brook, and had directed shows at the West End and on Broadway. However, I decided to go to the NTS. I’d heard about the School’s reputation and that Stratford actors such as Martha Henry (Acting, 1962), James Blendick (Acting, 1966) and Marilyn Lightstone (Acting,1964) had studied there.
Q. What are your memories of the School?
A. The School was located at the Le Royer building on St. Laurent Boulevard, but it didn’t feel like a school, it didn’t have that institutional feel. It was nice to make all these new friends. I lived in a room in a building at the corner of Sherbrooke Street and St. Laurent and eventually took over Richard Dennison’s apartment when he left the program before graduating. That place had bugs and rats!
We took acting and movement classes with the English- and French- speaking students and, when they had rehearsals, we’d go and build models, sets, do lighting, etc. I remember the fiery François Barbeau (later to become head of the Design program) and a British teacher who taught us set building and scenic painting. He’d arrive in his suit and tie, then roll up his sleeves, tuck his tie into his shirt and put on his apron.
At the time, we didn’t have directing classes per se. We learned how to build scenery, lift plywood, do lighting; all of the technical elements. We got rope slivers in our hands working at the Monument-National. I wanted to have directing classes and I locked horns with program director David Peacock about that. Eventually, he got Jean Gascon and John Hirsch to come and teach us, which was fantastic.
Q. Tell us about your career after graduating from the School.
A. After the NTS, I did a variety of jobs: I worked with Young People’s Theatre, doing school tours, and at the Vancouver Playhouse, among others.
Then, with two actors, I produced at the Red Barn Theatre (Ontario); I also served as stage-manager, technical director, lighting director, and head carpenter. All of the skills I’d learned at the NTS served me well. Because we did weekly rep, we did different shows. We had to have different sets, costumes and lighting every week. We’d work through the night. I remember that the lighting board kept blowing up…we’d fixed it by putting tin foil around the fuses! I did everything, including putting in (and losing) my own money.
I worked with a lot of people who went on to become prominent actors and directors. Bill Glassco created the Tarragon Theatre at the Red Barn Theatre. A few years later, he directed Creeps at the Factory Lab Theatre and bought a building to resurrect Tarragon, in Toronto.
I was also there for the creation of Theatre Plus, at the St. Lawrence Centre.
Q. What did you learn at the NTS that still serves you today?
A. I learned the craft of theatre, as opposed to doing theatre. The craft of stage-managing: how to deal with people, to keep notes. David Peacock was excellent at that (he’d been at Covent Garden before coming to the NTS).
I also learned a lot from the people I met there. Everyone was gifted; everyone worked hard and was very dedicated. I’d add that the NTS is a key to open some doors. Studying at the School gives you a “seal of approval” that is highly recognized.
Q. What advice would you give to theatre students?
A. To always stay obsessed with and possessed by theatre. You need determination. It’s a hard life, there will be times when you’re lonely, discouraged and isolated…but you’ll live through it.
Q. What would you have done if you hadn’t worked in theatre?
A. What a terrifying thought! I can’t imagine what else I would’ve done…, sweeping floors and cleaning toilets just to see the shows, perhaps…
In high school, I worked as the head usher at the Imperial movie theatre (which is now the Canon Theatre,) and I also replaced the night watchman. So I might’ve had a chance to work for Famous Players!
I suppose I could’ve done something else, but nothing as romantic as the theatre….nothing as all-consuming either.
Q. You’re leaving the MTC after 30 years, can you tell us a bit about it?
A. The first time I worked in Winnipeg was in 1972, as a stage manager at Rainbow Stage. I loved the city; the people were friendly, it was a lovely city. Of course, I was here for three months during the summer when the weather was warm! Then, I went back to Toronto and worked as Technical Director and Production Manager with Barnard Havard at the St. Lawrence Centre. (He is the Producing Artistic Director of the Walnut Street Theatre.) I eventually became the Production Manager for 8 years and then returned to Winnipeg to be the General Manager of the MTC, where I’ve been for 30 years. There was no production manager at the time, so I wore both hats for about three months, which was quite a challenge. Since that time, I’ve worked with four artistic directors and 16 board chairs. I’ve always enjoyed having to deal with all kinds of different styles and personalities.
Through it all, I’ve always maintained that what’s important is what’s happening on stage. The artists are the most important thing. You can have the best accounting practices, the best filing systems, etc., but if you don’t put the focus on the production, on the actors and the plays, you’ve got nothing. I think that’s what made me a good general manager; I approach my work from an artistic point of view first, not a financial one.
The MTC is one of the few institutions that have two theatres. We also do tours (throughout Manitoba and Northwestern Ontario). We have deep roots in the community and our subscription numbers are on the rise. I was part of the team that created the Winnipeg Fringe Festival, the 2nd largest in North-America.
I arrived at the Manitoba Theatre Centre and I’m leaving the Royal Manitoba Theatre Centre! The MTC received a royal designation from Her Majesty Queen Elizabeth II in October of 2010, in recognition of our steady management and artistic excellence, so we’re very proud of that. Winnipeg is the only city with two royal designations for the performing arts (the other is the Royal Winnipeg Ballet).
Q. Tell us about an aspect of your job that you love?
A. What’s great about working in the theatre is that there’s always a beginning, a middle and an end. You meet new and incredibly talented people with compelling stories and it’s always interesting. The days are filled with comings and goings. I also love the connection with the audience and, when I’m in the audience myself, I still get easily transported into the world of the play, despite knowing all of the nuts and bolts that have gone into the production. On the management side, I enjoy finding solutions to problems. You must always look for what’s needed and find a way to make it work. Never accept the obvious. I feel that luck is having the ability when the opportunity arises.
Q. Please finish this sentence: “If I’d have known then what I know now…”
A. Well, I believe that life has twists and turns and you wind up at the right place, at the right time. I don’t think of the past, I focus on going forward. That said, maybe I might’ve accepted Clifford Williams’ invitation to become his assistant. I would’ve become a director instead of a general manager.