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Q&A: Anusree Roy comes full circle

Back in 2008, Anusree Roy debuted her first play, Pyaasa, about an 11-year-old untouchable named Chaya whose mother, Meera, tries to get her a job at a local tea stall. The show – written while Roy, director Thomas Morgan Jones and designer David DeGrow were all in grad school – sold out its run and went on to win her Doras for script and performance. Since then, Roy’s proved a prolific writer (Roshni, Brothel #9) and actor (Bombay Black, Beautiful Man). Now she returns to the play that started it all at Theatre Passe Muraille (TPM). The show opens Tuesday (March 8). See listings.

You’re returning to Pyaasa eight years after its debut. Why?

When Andy McKim asked for Pyaasa to be a part of his TPM season, I instantly wanted to do it, because I felt the essence of the play is still relevant. The consequences of power and privilege in a society that continues to practise an abolished form of segregation is something that still needs a voice.

Have your feelings for any of the characters changed? 

Yes. I have such profound compassion for Chaya’s mother, Meera. As I get older and am at an age when a lot of my friends are having children, I’m realizing the sacrifices parents have to make. It’s been a very humbling experience to get into her skin again.

Line that makes you tear up?

Meera’s line: “Life is not easy, Chaya… but you have to believe in it.”

Were you tempted to change the script for this production?

I cut three lines and changed a few words here and there. I was a very different writer 10 years ago, so of course I wanted to change the script, but I didn’t want to dishonour the integrity of the play, as I know it works the way it is without my forcing changes on it.

You had a recurring role, Nurse Patel, in the TV series Remedy. How does making TV compare to making theatre?

Everything in TV is fast: writing (I was story editor for one season), editing, performing. The time between the story’s pitch to the first day of shooting is sometimes just weeks. Theatre takes time. There’s a lot more development. Not to say one is better than the other it’s just the way the mediums are set up.

You took on a demanding role in Bombay Black at the last minute. How did you make that work?

Oh. My. God. That was quite something. After I got the call to join the show, I realized I had six days to memorize the entire play. I called my boyfriend Ryan and made a pact with him. I promised that I would not complain about the work – at all. I did this so I could only focus on the role versus spending energy stressing. And honestly, it was stress-free. I woke up at the crack of dawn, learnt my lines, went to rehearsals and when I had a scene off I learnt lines with the A.D., Jasmine. I came home to work on my lines with my friend Lina, whom I hired for six days. By the time we previewed, I had it. [Director] Peter Hinton very kindly had Jasmine in the audience, who was on book the first preview, but I had promised myself I wouldn’t call for a line – and I didn’t!

In the space of a couple of weeks you could see Pyaasa, Venus’ Daughter, Cowboy Vs. Samurai and a non-white Salt-Water Moon. What else can people do to change the colour of T.O. theatre?

They can put faith in us that our stories matter and that they will sell tickets. I saw Salt-Water Moon last night and was profoundly moved. [Director] Ravi [Jain] is a master craftsman, and Kawa [Ada] and Mayko [Nguyen] were mesmerizing to watch. I kept screaming “Bravo!” while applauding at the end of the show.

You’ve lost a lot of weight. Why, how… and has it changed your approach to

performing?

After my arthritis diagnosis I was bedridden because my pain was extreme and I couldn’t walk. It’s terrifying to lie in bed day in and day out watching your life pass you by. Once I was able to walk again, I wanted to make a change for myself. So I got a trainer at the local gym and started to lift weights. I started with 20 pounds, and now I can squat over 100 pounds.

What’s the last great show you saw?

Betroffenheit. It shook me to my core. I was in awe of what I saw onstage.

What’s next?

I’m moving to Stratford next month to be in Breath Of Kings. And I’m working on my own TV pilot and continuing to develop two commissions – one with Nightwood called Trident Moon and one with Factory called Little Pretty And The Exceptional.

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