Q&A: Repetitive Strain Injury

Rob van Meenan.

Following the success of his first play, Burn, Saskatoon-based playwright Rob van Meenen is set to debut his new work Repetitive Strain Injury, a candid dissection of modern relationships, for a limited engagement at Factory Studio Theatre this month.

The show marks the inaugural production from the newly formed Company Kid Logic, a collective of like-minded artists with a mandate to showcase relatable contemporary work to Toronto audiences. Directed by Harry Judge, the production features an accomplished cast of stage and screen performers, including Robin Dunne (Sanctuary), Ava Markus (Terminus), Imali Perera (Degrassi: The Next Generation), Amy Matysio (inSAYSHAble) and Pat Kiely (Being Human).

We caught up with van Meenen to find out more about his latest creation, and why he hopes it makes you cringe.

Theatromania: Tell us about Repetitive Strain Injury. What inspired this play?

RVM: I was getting ready to compete in a 24-hour playwriting contest through the Saskatchewan Playwrights' Centre. I had decided (in my infinite wisdom) to not pre-plan anything. I just wanted to come in with a title and an empty slate, and see what happened. A fews days before the contest, I was starting to feel the pressure...this could definitely go south on me. Then, on the radio, there was a program on the CBC talking about actual Repetitive Strain Injury...as in Carpal Tunnel, and the like. It just got stuck in my brain...the phrase itself, and the notion that it could apply to more than just physical tasks. Like what decisions we make mentally, over and over again. Bad choices. And the toll that it takes on ourselves. And, it's about trying to make relationships work. Conveniently...I have a nice resume of broken ones in my past to draw upon.

Theatromania: How would you describe Company Kid Logic’s production in a few sentences?

RVM: Well, I just showed up for rehearsals recently...so I can't say too much yet. But everyone keeps complimenting my writing. Buttering me up basically, so that they'll feel better tomorrow when they ask me to cut or change a line. Seriously, these actors are conniving. Which comes in handy, 'cuz each of them has to be, at different times in the play. OK, true answer. Everyone's got their A-Game going. It's obvious. It's reassuring coming into a room and knowing immediately that no one is going to drop the ball, that there are no weak spots, know what I mean? Plus, it's a very attractive cast. Now I know why no one asked me to be in it.

Theatromania: What are some of the challenges you’ve encountered during this process?

RVM: The challenges were getting to this point now. From here on in, it's a wonderful roller coaster ride that you've got to embrace, and trust, and enjoy. But getting here...I started writing this play six years ago I think. Draft after draft, workshops, submissions, rejections...you really have to keep both focused and patient at the same time. And be willing to accept other voices in the process, but to not lose sight of your vision. It's a balancing act.

Theatromania: What do you hope audiences take away from this performance?

RVM: That's always a tricky question to answer...I don't want to tell my audience what they "should" feel. I trust them to make their own decisions. Whether they like a character, or not. Whether they approve of their choices, or not. Or even whether they like the play, or not. At the most basic level, I just hope that they see something of themselves, whether that makes them cringe, laugh, or cry. Preferably in that order though...I think the "theatrical cringe" is undervalued.

Theatromania: What’s next for you?

RVM: Well, I'm about to start rehearsing The Cherry Orchard back in Saskatoon. Luckily, I can get out of rehearsals for the opening of RSI in Toronto. But as for writing projects...my co-writer from my previous play Burn (Cherise Arnesen) and I are trying to get a screenplay done. It's a modern day heist flick. It's about some numbskulls trying to find somewhere to score a lot of cash...which is hard these days, when no one, not even banks, really keep a lot of cash on hand. Trying to pull off an old school robbery in the modern electronic age. It's a fool's errand...kinda like independent theatre, right? At least I've got some experience there.

Repetitive Strain Injury runs from December 6 to 15 at Factory Studio Theatre. Visit rsitoronto.com for more information and to buy tickets.

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