Before we delve into the accomplishments of the 2017 MyEntWorld Critics’ Pick Awards winners, we are thrilled to showcase our annual Nominee Interview Series, featuring the exceptionally talented Mercedes Morris.
Mercedes Morris is not just friendly; she’s superhumanly so. This talented, articulate, humble, and strikingly beautiful actress graced our office with her presence to discuss her role in the Outstanding Ensemble of Stratford’s remarkable contemporary production of Tartuffe. Mercedes arrived brimming with infectious enthusiasm and genuine joy, and answered every question with refreshing honesty. Spending an afternoon in conversation with Mercedes Morris, ideally discussing theatre but truthfully, any topic, is a prescription for a brighter outlook on the world.
Do you recall your earliest encounter with theatre?
“Indeed, my first experience was quite memorable. My aunt, who was then a dancer in The Lion King, brought me along to a rehearsal while babysitting me. I was very young, but I distinctly remember being on the sidelines, playing with the actor portraying Simba during his break.
Even though I was just observing a rehearsal and not a stage performance, I consider that my true first connection to theatre. It was captivating to watch the dancers, including my aunt, who continues to practice and teach African dance. It feels like both a distant memory and a continuous thread in my life. That experience ignited my passion not only for acting but for the broader concept of entertaining.”
That’s an exceptional first theatre experience story, possibly the best answer I’ve ever received to that question. Was your aunt portraying one of the animal characters?
“Yes, she was! I believe she was a gazelle or a similar creature. It was a long time ago, but the memory of playing with Simba remains vivid.” [laughs] “In my childhood imagination, I was Nala! Perhaps one day, I’ll complete that circle and play Nala myself.”
You attended Wexford Collegiate, an institution renowned for its musical theatre program. How significant were your experiences there in shaping your career?
“Wexford holds a special place in my heart, though it’s a bittersweet relationship. While it was a high school environment for learning, there was a palpable expectation to excel, to be the best. As someone who seemed to naturally shine within the program from Grade 9 onwards, I received immense support and encouragement, perhaps more so than some of my peers. It’s taken me years to fully process this dynamic, as it’s a complex issue.
Ideally, I wish there had been a greater emphasis on collective learning. While I cherish the musical productions, like playing Evita in Evita in Grade 12 – a peak experience – I believe a more nurturing environment for all my classmates could have allowed us to flourish together. My perspective is shaped by my position, being ‘at the top of the pile.’ From that vantage point, I longed for a more unified journey. Often, the focus seemed to be heavily weighted on the final product, the performance itself, rather than the developmental process. While the collective spirit was always preached and acknowledged, truly embodying it in practice could have been strengthened.
Despite this, I was part of some truly incredible musical productions at Wexford. It’s astonishing to consider the high caliber of work we achieved as high school students. I feel privileged to have been a part of it, yet I must also acknowledge the inherent privilege I experienced within that system.”
Mercedes Morris smiling during an interview, highlighting her articulate and humble nature.
How did you become involved with Tartuffe at Stratford?
“Through a standard audition process. Tartuffe has been an extraordinary journey for me. I initially auditioned for Chris Abraham for the role of Mariane. The audition felt positive and productive. As I was about to leave, changing my shoes in the hallway, the reader approached me and asked if I had time to stay longer. They explained that another person was flying in and offered me sides, expressing their wish for me to read with him.
I agreed, of course. I prepared in a quiet corner and returned, but he hadn’t arrived yet. Another actor appeared, and I read with him. Then, they asked me to wait again, mentioning they were still anticipating the first actor’s arrival. I enthusiastically replied, ‘Oh yeah, I’m not going anywhere! I’m ready to showcase my abilities!’
The first actor ultimately didn’t make it, which provided me with extended time in the room with Chris. I spontaneously performed monologues—I’m not even sure where they came from! It reinforces the advice to always be prepared. I felt I had a strong audition that day, and I was able to effectively demonstrate my range. When the offer came, it felt perfectly aligned, as if the universe had orchestrated it. It was truly a remarkable experience.”
The Tartuffe production was notably updated, incorporating modern language and a contemporary setting. How did this modernization influence Mariane’s character arc within the narrative?
“While the modernization was significant, I believe Mariane’s core essence remains timeless. Even in traditional productions, Mariane is depicted as ahead of her time. While Dorine’s influence is crucial, Mariane ultimately makes the groundbreaking decision to defy her father’s wishes. Our production was indeed groundbreaking in its contemporary approach. For me, it felt like we weren’t changing Mariane’s fundamental character; rather, the world was finally catching up to her inherent forward-thinking nature.
The modern setting amplified her independence and confidence, traits associated with 21st-century women. Yet, she retains respect for her parents and an understanding of her privileged position. This awareness allows her to strategically navigate her situation, even playfully manipulating her father to achieve her desires.
Mariane is intelligent and resourceful, with Dorine providing that extra encouragement. The strength to stand up to her father has always resided within her; she simply needed the external push from Dorine, who embodies a similar modern, confident, and independent spirit. Their dynamic is truly empowering.”
Tell us about your experience working with the production team and the Outstanding Ensemble-nominated cast.
[laughs] “They are family, genuinely. From the beginning, I was fortunate to be cast in three productions alongside many Tartuffe cast members. This shared experience in Twelfth Night and The School for Scandal alongside Tartuffe deepened our bond. Even when involved in separate shows, we constantly interacted. We all appreciated the collaborative environment fostered by Chris and Julie Fox, who encouraged our input in writing, design, and production aspects, allowing us to actively shape our characters.
Julie Fox is incredible; I adore her and her designs. She became like a second mother to me. Even small details mattered. For instance, wearing my natural hair in an afro on the Stratford stage was my suggestion! I felt it aligned with Mariane’s character, and similar suggestions were welcomed and valued for Dorine. Being heard and contributing to these details was significant. Stepping onto stage as Mariane each night, knowing ‘I shaped this, this is me,’ was incredibly empowering.”
You mentioned the afro being your idea. Did you feel empowered to bring your perspective as a Black performer into the story?
“Yes, absolutely. It’s deeply emotional for me to discuss. As an actor of colour, especially within large festivals, there’s a pervasive fear of being typecast – not to say it’s ‘acceptable,’ but there’s a sense of expectation that roles might be limited to maids, servants, witches, or slaves. This is a common concern.
Alongside being offered Mariane in Tartuffe, I was cast in two other productions where I did play a servant and a maid. I acknowledge these roles as part of the profession, part of the package. However, I also recognize and value the opportunity to portray Mariane, a high-status character from a privileged family. It’s vital to acknowledge both realities to maintain perspective for myself and within society.
Let me be clear, I am not at all complaining about my other roles. I understand they are part of the acting landscape. However, I am incredibly proud of tackling Mariane and challenging potential visual preconceptions. Sometimes, audience members in the lobby would say, ‘Oh, I loved you as the maid in Tartuffe!’ And I’d gently correct them, ‘Honey, that wasn’t me; I played the daughter. But thank you!’” [laughs] “It highlights the common perception when there are few actors of colour. But I see it as progress, baby steps. I have to acknowledge the achievement and remind myself that things are evolving.
Looking at Anusree Roy’s role as Queen in Breath of Kings the previous year, showcasing a high-status character, is also crucial. We shouldn’t just focus on the fact that she plays Dorine; she’s a lead, regardless of the role’s designation.
Anusree is phenomenal, truly exceptional. Our on-stage closeness as Dorine and Mariane mirrored our off-stage friendship in the dressing room. She’s my dressing mate, my dear friend. When I was ill and had to miss shows, she brought me dinner, snacks, checked on me, and offered rides to the doctor—she’s incredibly kind.
The strong bonds we formed that season deeply enriched our work. This sense of family extended to everyone in the cast. It’s easy for a large production to become impersonal, a factory. But I never felt like just a number or a face. I felt valued, important, and unique in my experience. I am deeply grateful for my time at Stratford and with these individuals. The learning experience of simply being in a room with Tom Rooney is invaluable! Observing his work ethic, his attention to detail—even with writing, he presents multiple versions. He takes Molière as seriously as Shakespeare.
He exemplifies that the work is continuous, artistic growth is perpetual. You have to commit and work diligently. He’s truly inspiring. And working with Graham Abbey again in Lear further cemented this feeling of connection, like a family.”
How does Chris Abraham’s directorial style differ from other directors you’ve worked with?
[whispers] “Oh my gosh, I adore Chris!” [laughs] “What I admire most about Chris, and it’s similar to Tom Rooney—perhaps why they collaborate so effectively, they are a perfect pairing—is his relentless pursuit of perfection. His hunger for detail is finely tuned. Right up until the first preview, he’s still exploring, searching, striving for the best possible outcome.
When you’re guided by someone with such passion, it’s contagious. The show became everyone in the cast’s ‘baby.’ We were united in creating it. If that level of passion and enthusiasm hadn’t been initiated from the top, I doubt we would have been as collectively invested.
We made a significant edit to a scene—a major change—during our last preview. It was a risk, but it worked. Had we not paused at 9 pm the night before, along with Sarah Kitts, our incredible assistant director (I’m eager to work with her again!), to make that change, as daunting as it was on the last preview, the show wouldn’t have been what it became. It solidified its impact.
I deeply appreciate Chris’s willingness to express dissatisfaction. If something isn’t satisfactory, he acknowledges it. If you’re not content, don’t pretend to be. If you’re unhappy, voice it, and let’s work towards improvement. Often, people settle for ‘okay.’ I dislike ‘okay’; I aim for excellent, fabulous!” [laughs]
“Chris is exceptional. He also articulates his notes in a way that resonates with actors, using actor’s vocabulary, not just director’s jargon. There is a difference. His phrasing and formulation of notes are clear and easily understood by actors, allowing me to adjust my character’s thought process, not just the line delivery. His notes are profound. I am a huge admirer of Chris, and he has been a champion for me, especially at the beginning of my theatre career and during my time at Stratford. I am incredibly grateful for him.”
Will you be involved in the remount of Tartuffe with Canadian Stage, Groundling, and Crow’s?
“I sincerely hope to be, because, as I mentioned, it was such a tight-knit family. That closeness, I believe, infused the production with extra life and spark. So, I would love to perform with them again. January is still some time away, so we’ll see.”
Did you have a favorite moment in the play?
[laughs] “Oh, several! Maev Beaty is incredibly funny. I particularly loved the couch scene, the ‘exposure’ scene. It’s a classic, and Maev and Tom Rooney performed it in a way I had never witnessed before. Everyone looked stunning in that production. I loved how Elmire seduced Tartuffe; I admire powerful women who know how to use their strengths. That was definitely a favorite.
Then, of course, my ‘fro line’ was a highlight. Being able to contribute to the writing and edits for this translation was special, and that line was my contribution, and it stayed in!” [laughs] “That felt like my little victory.”
Tell us about working on Lear and having Seana McKenna as your on-stage mother.
“How do I even describe Seana McKenna? She is an extraordinary entity. Just hearing her name brightens my world.
Let me backtrack slightly. My time in Lear was incredibly special because it marked my first principal role in a Shakespearean production. I consider it ‘my first Shakespeare,’ making it particularly dear to my heart. Being directed by Graham Abbey was also significant.
Similar to my experience in Tartuffe, when you have a director who communicates from an actor’s perspective, like Graham, the connection becomes seamless. I felt that connection with Graham, enabling learning and growth from him and everyone around me, especially Seana. She is so open, so generous. Being able to ask her about the folio, about her past experiences—she’s played all three daughters, I believe—and her gracious, educational, and open responses about her time as Cordelia were invaluable.
She was my mother, ‘Mama Seana,’ as I called her.” [laughs] “That’s what she became to me. Mama Seana. She was my on-stage mother. We developed a truly special bond, as I did with Graham, my ‘papa,’ still my Orgon in my mind. I felt I could approach either of them with any question or doubt.
The entire cast was supportive. Kevin Hanchard was always there to listen, answer questions, and provide feedback. He’s incredibly kind. I even left my hat at the theatre on closing night, and he mailed it to me two weeks later!” [laughs]
“I have been incredibly fortunate to be part of casts that feel like family. I’m surrounded by loving, nurturing, understanding individuals who are also at the top of their game, professional, and respectful. There’s a level of professionalism in the room that you absorb. I’ve learned not only about acting craft and skills but also about humanity from these individuals. Just pure humanity. They are truly remarkable.”
What projects are you currently working on or what’s next for you?
“Before my time at Stratford, I was involved in film and television, and I’ve returned to that world. I’m excited about upcoming projects. I recently finished working on something, but I can’t reveal details yet due to confidentiality agreements. But please stay tuned and follow me on Twitter and Instagram! Information will slowly emerge.” [laughs] “My handle is @im2fancy_—it’s always been my persona. I embrace it! I love dressing up, having fun, and red carpets.” [laughs]
It sounds like someone is ready for April 16th! Is there anything else you’d like to add?
“I want to express my deep gratitude for this opportunity to share my experiences. It’s not every day you have a platform to do so. I’m very thankful for your time and this space. I also want to send love to everyone in the city who is pursuing their passions. It’s not easy what we do. To those who have been in the industry for a long time, kudos, I’m inspired by you and grateful for you. Blessings to everyone, truly.”
