Leslee Silverman firmly believes that children are our future, and has been cultivating imaginations for almost 30 years.

Silverman has been artistic director of the Manitoba Theatre for Young People (MTYP) since 1982.

In that time, she has directed many of its productions including New Canadian Kid and The Rememberer, and her work has been shown on various stages around the world.

She has also nurtured children’s theatre on a global scale, and was instrumental in developing work for young artists worldwide.

Silverman was recently named a recipient of the Governor General’s Award for Lifetime Achievement in Performing Arts, the country’s highest honour.

The Uniter recently sat down with her to talk about her recent award, the MTYP and the future of children’s theatre.

Q. You’ve recently received the Lifetime Achievements award – congratulations.

A. Thanks! The award was announced in Toronto, and in May I will be attending the official gala event. I’ll be standing beside William Shatner – I’ll get to ask him “So, what’s in that captain’s log?” I’m sure people will be more focused on him, which means I don’t have to worry so much about what I have to wear. But besides him, I’m going to be in great company. It’s mind blowing.

Q. What does the award mean for the MTYP?

A. I think that the majority of the planet doesn’t have a clue about Canadian children’s theatre. When we go to Australia (and) Hong Kong, we are the ambassadors for Canada. We do way more than theatres for adults in reaching people. This award shows that passing on culture to our young people is important to someone. It’s a satisfaction that this award will increase the knowledge of this amazing work and amazing art.

Q. These days, it seems that most parents are turning to TV to educate their kids. Do you believe television is stifling creativity in young people?

A. I’m sure that TV is evaporating as a time consuming occupation for kids. I think the medium has become about money and power. I don’t sense the ownership with television. Nothing will replace (live theatre). A more famous person said this: “A can of hairspray you can hold, the ozone you have to imagine.”
If we’re talking about tools, (such as) what can exercise the brain through empathy, you have a better chance of that empathic culture through the tried and true methods, which happen to be arts and culture.

Q. What’s the advantage of doing children’s theatre over more traditional adult theatre?

A. I don’t frame it that way. If a piece has meaning and it uses anything that is cutting edge, I’m happy. We want kids to believe that we know what they think and care about. Do they care about The Tempest? Or The Cherry Orchard? Maybe, but we’d have to frame it so that it’s with the pulse and time of their world. Our audience is always on the edge, and we have to stay with them and engage them; we have only an hour, sometimes 75 minutes to involve them. If we’re going to involve them, it has to engage both with an awareness of what they’re used to now.

Q. What’s your fondest memory of working at the MTYP?

A. That’s a hard question; there are so many. One would be the opening of (the MTYP). The night before the theatre opened, Martha Henry was with me, and we stood in the dark (and) heard a rustling sound. She said, “You have a ghost, but it’s a benevolent ghost.”
My other favourite moment was our production of Where The Wild Things Are. The children did not for a minute separate themselves from the production. When you saw the kids’ faces, it was like a prayer to them. They were so engaged that it meant the world to them. When you’re touching the raw interior of a person, it’s a joyful moment to see. It’s not the specific moment, but I love the fact that we get to tell stories that have been around for a long time.

Q. What do you think is the biggest challenge for children’s theatre, in an age of such short attention spans?

A.  You must take it into account, you must do art that doesn’t suck. You can’t ignore it. You adjust to that reality. When we did Three Russian Clowns, we had a button on stage that said, “Do not touch.” The clowns spend an hour “trying” to touch the button. The audience was on the edge of their seats, you could see it on their faces – the desperation – they really wanted to touch that button. I can still feel the excitement. You try to aim for what is a universal feeling while making art that doesn’t suck. That’s the bullseye you try to hit.

Q. Where do you see the MTYP in five years?

A. The world’s changed so much in five years. We should be looking joyfully to the future. We’ve gone from 45 kids in the aboriginal arts program to 500. We’ve gone from teaching the aboriginal arts company to them doing plays for the Fringe Festival. I see a strong aboriginal arts community where there wasn’t before. I see the technology improving; we’ll be able to carry lighter, better, LED lights. I think we will become a kind of new play centre for theatre for young audiences.

Q. You mentioned you had an idea for the Canadian Museum of Human Rights. Care to tell us more?

A. What I’m interested in is, “What are the rights of the child?” Every play would offer a certain proportion to the problems that kids face. Their fates are determined by the adults. I want to explore what children’s rights are, and what they mean for the rest of the world.