Local youth actor has ‘the right stuff’

Fresh from the success of their Winnipeg Fringe Festival directorial debut with the play Where We Fly from Hospital Beds, director Cyan Gargol (they/them) says that when auditioning actors, particularly youth actors, they are looking for professionalism and personal strength of character.

“For me, I’m always looking for youth who are enthusiastic about the role, who come to auditions on time … and are open to taking direction. Being reliable, flexible and open to trying new things are the best traits in any actor. I saw those traits in Kora,” said Gargol.

Gargol is referring to local actor Kora Dyck, who starred as Agnes in Where We Fly this past July and worked with Gargol the previous summer in the Fringe Festival’s The Best (?) Non-Denominational Holiday Concert Ever! And Kora is definitely showcasing ‘the right stuff’ for youth actors trying to break into the acting profession as a career.

“I started when I was 12,” said Kora. “People say that’s actually pretty old to start. I know its crazy (but when) you see famous actors who started when they were four or five …” she shrugs, indicating her intent to make up for lost time.

For Kora, the decision to pursue acting as a career came after careful reflection.

“When I was younger, I wanted to do everything. I wanted to be a policeman. I wanted to become a teacher. I wanted to become a fireman. I just wanted to do everything. So it’s like, actors could be whatever they want. That’s why I decided to do acting because I was everything in one,” said Kora.

Kora has quickly developed a list of impressive acting credits and the ability to perform in multiple productions at the same time. After doing several school plays around home, she is now a veteran of the Winnipeg theatre scene with two Fringe Festival credits and has now enrolled in a choir as she prepares for her upcoming role as Duffy in the musical Annie.

“Last year, I did three at one time. It’s crazy, but once you get into the movement of the thing it’s fine because it gets into your body language,” said Kora. “This year will be just as busy because I have rehearsal for one, then right after that my Driver’s Ed all the way until 9 p.m., and then rehearsal for number two after that.”

This focus and personal dedication to her craft means Kora knows where to be professional about her schedule and to concentrate her efforts towards what she knows she wants, which is to eventually break into film roles.

“I gave up most of my athletics. I used to do a bunch, but then my dad said it’s too much, so choose either acting or athletics. So I was like, I’m gonna give up on softball … and do three plays a year instead,” said Kora.

This demanding schedule is in addition to part-time work so that she can afford acting classes, such as those she takes from an American company online, and saving up tuition for a reputable acting college. She has been researching schools in Toronto and New York City for when she graduates from Steinbach Regional Secondary School (SRSS).

“There’s one in Toronto that I seriously want to go to, but that’s really expensive because, you know, it’s Toronto, but there are also a couple in New York that are good … I have a couple of jobs, so I try to save up for stuff … I did a couple of school plays and then I became a professional last year in theatrical acting, to actually get money for that,” said Kora.

Earning her driver’s license will also increase income opportunity and help ease the family schedule as she is presently dependent on her parents to get her to auditions, rehearsals and productions.

“Most of the time my dad drives me or my mom, and my grandma when my parents need a break. But next year I can start driving, so that’s probably going to be a big help because then I can take on more jobs,” she said.

For Kora, her professionalism and personal drive is exactly what is keeping her job prospects open and lucrative, as getting roles and invitations from directors is largely the result of reputation and garnered through word of mouth.

Local theatre director Alan Fehr, who is conducting the Steinbach Arts Council’s The Crucible this fall, said casting is complicated.

“Casting doesn’t come with a simple, ‘This is how you do it protocol.’ A lot of it comes down to networking: who you know, who knows you, and whether people are familiar with your work.”

In giving advice to younger actors trying to get into the theatre community, Fehr recommends taking responsibility for your own development and being engaged in researching and learning about what’s out there and available.

“Reach out and network. In school, your teachers serve opportunities to you on a gold platter, but that is the furthest thing from real life. In the real world, you have to go after the things that matter to you … find out how to connect, attend performances and get involved. Nobody else is going to do that for you,” said Fehr.

Gargol shares this view with Fehr, adding “Get involved with theatre. Volunteer at theatre, see theatre shows, just being around theatre helps you meet cool people and get a sense of what theatre is out there. It’s about craft, not final creation. One of the best things a young artist can do is learn to have a good process. Auditioning is a skill. Best way to get better at it is to practice.”

That willingness to put herself out there and to network, like Gargol and Fehr suggest, is exactly what Kora is doing.

“I know people who direct and stuff, so whenever they have new stuff I am just like, ‘Well keep me in the loop!’ It’s more about the people you know and who have seen (you work) … last year I did an audition for a completely minor role, and they’re like, ‘Could you just cold read this role?’ And I did and they thought I did amazing and they just cast me in that role, then the director asked me to come and be in this year’s (play at the Fringe).”

“Only about five percent make it into film, and then only two percent of them become famous. I’m gonna be happy just being in that five percent and getting to work. I love acting,” she said.