By Lynda Faye Schmidt
I arrived at the Asper Theatre on the University of Winnipeg campus with time to spare and no expectations. The quaint venue was buzzing with anticipation for barb janes’ play, Agency, and I was full of curiosity. My colleagues and I were waiting for the theatre doors to open, engaged in conversation, when who should appear but barb janes herself! I was fortunate to be introduced to the burgeoning new playwright, who candidly admitted the play took five years from conception to production. Read on to the end of the article for more insider information gleaned from my post-performance interview with barb.
The theatre oozed with character— rows of old-fashioned red fabric covered chairs and worn wooden planks, faded-black and scuffed from years of theatregoers. Seated two rows from the stage, I had an advantageous view of the set. The props were simple but thought provoking — a white directional signpost with a red Raggedy Ann wig perched on top and a maze constructed of red plastic tape in keeping with a crime scene, all of which served to pique my curiosity further.
A spotlight illuminated the stage where performers had magically appeared, and the action began. The opening scene placed us in an office of the Adoption Agency where director Dr. Thomas, 12-year-old Jasmine and her mother, Mrs. Doyle were embroiled in an altercation. In an emotional outburst, Jasmine ran off, soon to be lost in the maze. Jasmine, or Jazz as she preferred to be called, almost runs right into Louisa and Claire in her feisty determination to escape the bickering adults. It quickly becomes clear the girls are lost too — but it would seem they’ve been trapped in the Agency for much, much longer than our captivating protagonist.
Three very different histories, time periods and perspectives of adoption unfold in the 75 minutes of this original drama. barb janes points out the complexities of adoption with subtle yet insightful observations. The story brings to mind the phrase, “the road to hell is paved with good intentions.” In a poignant flashback, we learn that Dr. Thomas’ fervor in recruiting adoptees was born from a tragedy in the early days of the Agency’s inception, when he turned away a young boy seeking shelter who was later found dead in a barrel down by the docks.
I was haunted by Louisa’s soliloquy, infuriated with Dr. Thomas’ tunnel vision, and frustrated by the flawed system that the three girls had to navigate. This powerfully emotive production left me with hope burning in my heart with Claire’s final three words, “Fix this, possible.” An adoptive mother myself, I have my own story, but barb janes’ sensitive and thoughtful portrayal felt large enough to hold space for all of us.
I was privileged to sit down with barb janes to learn more about the backstory, and as is often the case with creative genius, many things collided together to bring Agency to life. The inspiration for the character, Louisa, was sparked by barb’s grandma, who was sent to Canada during a time when Britian exported orphans to colonies. A retired Minister of the United Church of Canada, barb was involved in local tribal child welfare services, and those experiences melded together to birth the character of Claire. Jazz was inspired by barb’s niece, who was an adoptee from Ukraine. When barb’s research led to the discovery that Korea is the biggest exporter of children for adoption, she decided to change Jazz’s birth country. barb also worked with Jenny Heijun Wills, advisor of intercountry adoption, who works at U of W, and Indigenous Knowledge Keeper Val Vint for accuracy in her story.
Things really took off when barb submitted Agency to a “bake-off” contest. One of six finalists, it won first place and an opportunity to attend a week-long workshop with Sarasvati Theatre. barb won the prize of a year-long program with Dramaturg, where she met Agency director Marsha Knight. The script underwent the transformative process of dramaturgy and was presented in Femme Fest.
When Covid hit, progress was temporarily derailed, but the play ended up showing outdoors as well as live stream. Grants from the Manitoba Arts Council and Manitoba Association of Playwrights supported five actors, a director and editor. A new draft. More editing. Repeat. It was very competitive and loads of paperwork. Broken Record Productions submitted Agency for this year’s Fringe Festival. When all her hard work culminated in witnessing her play come to life on stage, trepidation morphed into second guessing, and then the thrill of the excitement she could feel emanating from the audience.
barb joined the Guild a year ago and values the monthly Critique Circles for helping her to hone her craft. Her membership with the Manitoba Association of Playwrights also provides opportunities for writing and sharing in a group. barb believes that having a deadline can be a helpful incentive for keeping her writing goals on track. Her favourite part of the creative process are the Aha moments when inspiration and perspiration collide.
Dedicated to writing a story about people from other nationalities with respect and accuracy, in this writer’s opinion, barb reached her goal. Agency offers a gateway to understanding, empathy, and compassion. It is a voice that breaks down barriers and diminishes division. I asked barb her advice for other aspiring creatives in the Guild community. Her answer? “Just keep making art. Don’t give up. Tell the story only you can tell. Your story.”
barb has already picked up where she left off, working on a novel she started writing as a side gig during production of the play. With the working title, Penultimate, it’s a comedy set in an upscale seniors assisted living residence. Whatever unfolds, barb will definitely be creating more material, driven by her passion for humanity and the arts.
