Kevin Matthew Wong
ORIGINAL PRODUCTION CONCEPT BY
Kevin Matthew Wong / Broadleaf Theatre
A WALK IN THE SPRING, VOICE-OVER
Pool Service Productions
Director of Photography - Julian Geraets
Camera Operator - Phil Collins
Camera Operator - Dallas Sauer
Sound - Peter Robinson
Gaffer - Joshua Carballo
Editors - Phil Collins, Dallas Sauer
Production Assistant - Maria Zarrillo
BLIND AND LOW-VISION ACCESS CONSULTANT
BLIND AND LOW-VISION ACCESS PODCAST EDITOR
WHY NOT THEATRE INTRODUCTION VIDEOGRAPHER
Abigail F. Aries
C. Derrick Chua, Barrister & Solicitor
Provided by The Research House Clearance Services Inc.
A few years ago our team began creating a play with David and Tara. We all quickly fell in love with them, their stories, and adventures, and we wanted to share their stories to inspire others to care for our planet as they do. Miriam worked tirelessly to transcribe and sift through hours and hours of our recordings. Then Ravi and Miriam would piece the stories together and read them at 3 am to Kevin, who would help to shape the story. David and Tara would then want to rewrite and add MORE stories and we just kept piecing this puzzle together. It was an amazing detective story, scouring through evidence and making our case till 4 o’clock in the morning! Once the puzzle started to form a picture, what became clear to us was how David and Tara’s five-decades-long love bolsters and reinforces their individual convictions and actions for the planet. We thought, maybe their love stories could become a template for others’ actions. In Feb 2020, we got to perform the show with a live audience. They loved it and were as moved and inspired as we were. It was magic. And then COVID hit.
Every day the climate emergency became more urgent. And while COVID shutdowns prevented us from gathering in theatre spaces, we knew we had to find a way to continue to spread the message of the theatre piece - that love can be both a catalyst for action and an antidote to climate despair. So what do we do when the story you have to tell is urgent but people can’t be together to share it?
Film presented a host of challenges — we had a whole new aesthetic vocabulary and set of tools to work with and… um… where is the audience?! Where is the energy and the feedback of performance!? No raucous laughter at our jokes? No standing ovation at the end?! Many of these challenges became opportunities for us to stretch our creative muscles – film provided us the ability to find new and different ways to convey the intimacy that we had in live performance. And it also allowed us to place our conversations in specific settings and tell the story of David, Tara, Miriam and Sturla’s blossoming relationship more subtly.
We were also privileged to get to know the incredible lands that we filmed on — the unceded territories of the Laich-Kwil-Tach, specifically the We Wai Kai, as well as the unceded territories of the Musqueam, Tsleil Waututh, and the Squamish. We tried to convey the beauty and power of these locations in the poetic interludes in the film.
Working on this project and being able to spend time in nature as we did has been such a privilege. It allowed us a deeper understanding of an important lesson that David and Tara have received from their Indigenous friends and colleagues over the years, which they recount in our film: the importance of reciprocity. To acknowledge that we are deeply connected to the land and that the land gives us life. It cares for us, and we must be responsible to care for it in return. We are nature.
In creating this film, we wanted to tell a story that could help us remember and recognize all that we receive from this planet, and to practice gratitude for it. A story that helps us recognize our deep interconnection with all that surrounds us. A story that can help us to fall in love with this planet and care for it the way it has and will care for us.
Like Tara and David, we want audiences to understand that you can find your own unique voice, contribution, and role in a movement for a healthier, more liveable planet.
It’s not too late.
“Our love radiates out from the physical to metaphysical, we share in our ideas and our greatest love is our children who are the product of our love and that means we love the planet that sustains us.”
— David Suzuki, Performer, Co-Writer
Sonnet 18: Shall I Compare Thee to Summer’s Day
- William Shakespeare
The film begins with Tara reciting one of Shakespeare’s best known sonnets.
A Walk in the Spring (excerpt)
- David Suzuki
A poem in the film, written by David himself as a 13 year old in 1949.
I Wandered Lonely as a Cloud
- William Wordsworth
A lyric poem referenced in the film and which is considered an exemplar of British Romantic Poetry. David recalls that it was often cited by his father.
On Imagination (excerpt)
- Phillis Wheatley
A famous 18th century poem by Wheatley. It is read by Sturla in the film.
Hope is the Thing with Feathers
- Emily Dickinson
This lyric poem is recited by Miriam at the end of the film. It connects to the film’s theme of hope as an empowering tool to contend with despair when faced with adversity.
All We Can Save: Truth, Courage, and Solutions for the Climate Crisis (2020)
The Hockey Stick and the Climate Wars: Dispatches from the Front Lines. Michael E. Mann (2012)
The Madhouse Effect: How climate change denial is threatening our planet, destroying our politics and driving us crazy. Michael Mann and Tom Toles (2016)
Climate Change: What Everyone Needs to Know. Joseph Romm (2016)
Merchants of Doubt. Naomi Oreskes and Eric Conway (2010)
Reinventing Fire: Bold Business Solutions for the New Energy Era. Amory Lovins (2011)
Exxon: The Road Not Taken. By Neela Banerjee et al. (2015)
Climate Cover-Up: The Crusade to Deny Global Warming. James Hoggan (2009)
The Climate Casino. William Nordhaus (2013)
Climate Change and Renewable Energy: How to End the Climate Crisis. Martin Bush (2019)
Climate Change Adaptation in Small Island Developing States. Martin Bush (2018)
Drawdown: The Most Comprehensive Plan Ever Proposed to Reverse Global Warming. Paul Hawken (2017)
The Sixth Extinction: An Unnatural History. Elizabeth Kolber (and Company LLC. 2014)
Field Notes from a Catastrophe: Man, Nature and Climate Change. Elizabeth Kolbert (2016)
A Good War: Mobilizing Canada for the Climate Emergency. Seth Klein (2020)
The Uninhabitable Earth: Life after Warming. David Wallace-Wells (2019)
Value(s): Building a Better World for All. Mark Carney (2021)
Climate Change & Other Small Talk is a season of nine short audio dramas by nine playwrights from around the world. The project is inspired by Sunny’s residency on a boat in the Arctic Circle in 2019.
A couple leave outraged reviews about products delivered by Amazon, while climate chaos swishes into their home... Their responses to their escalating crisis become increasingly absurd, topped only by the absurdity of Amazon’s tactics to thwart them.
What You Won’t Do For Love was filmed on the unceded territories of the Laich-Kwil-Tach, specifically the land of the We Wai Kai, and the unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations.
Why Not Theatre, TO Live, and Soulpepper’s activities take place in Tkaronto, the land of the Wendat, the Haudenosaunee, and the Anishinabek First Nations, including the Mississaugas of the Credit. This territory is covered by the Dish with One Spoon Wampum Belt Covenant, an agreement between the Haudenosaunee (Six Nations) Confederacy and the Anishnaabe (Ojibwe) and allied nations to peaceably share and care for the lands and the relationships around the Great Lakes.
We acknowledge all of the storytellers, knowledge keepers and caretakers who have stewarded this land from time immemorial and will continue to do so far into the future.