In conversation with Tomáš Kantor

Tell us about your character in a nutshell. What drives them?

Darby is a kind and shy, but simultaneously explosive, young person. They’re characterised by an undeniable sparkle of joy and hope despite their often-turbulent circumstances. They are driven by a desire for connection, belonging, excitement and safety. They have grown up enduring acts of violent homophobia but remain steadfast in their identity and optimistic about their future. Structurally, they offer levity and comedy to punctuate the intensity of the beginning narratives.

How do you embody your central character of Darby?

Darby is fundamentally buoyant and alive, both as a character and dramaturgically, and keeping their physicality light, quick and flexible was key to unlocking their essential joy. Their face is expressive, eyes wide, and their movements are often sharp and definitive. Letting the breath fall in and flow freely is necessary to keep up with the speed of Darby’s thoughts, allowing for an open and dynamic instrument to respond instinctively in scenes.

How do you transform into other characters? Can you give a specific example?

Vocally; pitch, pace, timbre are all very useful. A distinct shift in physicality or direction also works well, sinking back onto heels, contracting or expanding at the chest. I also like to think about the mood and energy with which a character ends a scene, and imbue the following with a starting point that is distinctively different to that place. So, if a previous character ends enthused and lively with their energy forward, I might make the following start bored or angsty with a downward gaze and slumped shoulders.

Tomáš Kantor (centre) with Sarah Fitzgerald and Tsungirai Wachenuka in rehearsal. Photo: Emily Doyle

How do design elements like costumes, props and the set impact your performance? What helps and how?

Costuming is minimal to allow for transformative character performances across the multitude of personalities we encounter in the story. The concrete style blocks allow for an ever-evolving liminal imaginative space, like building blocks, that can be a monument, a memorial, a bench, a step. They reference the dividing blocks used to stop cars driving into footpaths. The flags are a powerful symbol of protest and identity. All of these elements being representative, symbolic and movable allow for dynamic world building as an actor.

Do you consciously experiment with/manipulate motion in your performance? How so?

The play goes like the clappers, it barrels along and you have to strap in from the top and go on the ride. You have to stay focused and specific, however, to keep the momentum driving. This doesn’t always mean moving fast. Rather, being deliberate and clear in why a character stands, moves, runs, falls, and syncing this up with the breath and vocal clarity, imbues motion with meaning and creates followable interesting images for the audience.

What is a big idea in this play, in relation to your character?

Young people are powerful, intelligent and passionate people who can instigate change in the world. At any age, small actions of rebellion and self-expression can have ripple effects that incite large-scale societal and cultural change. This play really invites audiences to ‘do things rather than just think them.’