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Stephanie Norah Moore
I live in Toronto, and have been here since about 1995.
AFTER CHS
I attended the University of Ottawa, and received a B.A. with a Theatre concentration. My schooling continues, and probably always will, as I’m forever flexing various acting muscles and learning new skills. Courses in Toronto include acting for film with John Boylan, and David Rotenberg. Voice demo with Mike Kerby, Allegra Fulton, Stuart Horsely. Clown intensives with Mike Kennard and John Turner. Others include George Walker, Pierre Lefevre, Martin Doyle, Sears and Switzer.
PERFORMED
Film, TV: (been solely working in film and television for the past 2 years)

Queer as Folk - recurring character Cynthia, assistant to the lead, Brian. Will be airing on Showcase starting Jan 22. Also on Showtime.
Zebra Lounge - MOW featuring Stephen Baldwin. Alliance Atlantis.
John Q - feature- scene with Denzel Washington. Still in production.
Hangman – film - featured role, Lynn Farmer. Worked with Lou Diamond Phillips. Trimark Films now owns the rights.
A Touch of Hope- MOW-featured role with Anthony Michael Hall - NBC
Frequency- feature film- Avery Pix-scene with Dennis Quaid that can be seen on the cutting room floor. Aghhh.
Unicorn Secret-MOW-Unicorn Prods.
Urban Legends: Final Cut - feature
Alt. Rec. Death - Indie film- blokland prods.
Denim Blues – CJOH - lead in series ’90.
High School Confidential - CJOH- lead in series ’89, ‘88

Theatre (selected):

Angels in America I Harper
Angels in America II, Harper, at the Centaur Theatre in Montreal-dir Gordon McCall.
The Underdogs, Just for Laughs, Doreen, lead, Montreal, dir Joel Greenburg.
Mamakin written, produced by myself. Samantha. Performed with Derek Carkner. Toured the Fringe circuit in Manotick, Toronto, Sudbury, Winnipeg, Saskatoon, Edmonton.
Sold to the Centaur Theatre, and also mounted at the GCTC in Ottawa.
In Vitro Isabelle, lead, N.A.C. Atelier Lead
Oleanna Carol, lead, at Sudbury Theatre Centre Lead
Cheatin’ Heart (musical) Danielle, lead, at Lighthouse Festival Lead
Marisol woman in fur at Theatre Passe Muraille
Summer of the Aliens Dulcie, lead dir Richard Rose at GCTC Lead
Criminals in Love Gail, dir Arthur Milner at GCTC Lead
I Had a Job I Liked. Once. Tracey dir Bob Bockstael at GCTC
Saltwater Moon Mary, lead dir Darcy Eastern Ontario Theatre Company
CREATING
I created Mamakin, a 4-Humours Prod., which was a play which had a 3-year life, much to my surprise. It jolted me out of a dream at 3 a.m., and grew into a much-loved production that actually made me some money.
(It does happen). It took me 3 months to write the initial script. Over three fringes, it was workshopped, basically in front of an audience, as Derek and I did our improv thing. I then rewrote it, and had it officially directed by Mike Kennard. Karen Hines, Sandra Balcovske, Fiona Griffiths,
Jane Moore and John Turner also helped shape the piece. The show then toured the western fringes, and was mounted at the Centaur Theatre and the GCTC.

This show was the most difficult, terrifying and rewarding thing I’ve done. When you have always been hired to do someone else’s show, you do not see the work behind the scenes, which is almost unfathomable. To see something from germination to production is the most empowering thing an artist can do. I was solely responsible for budget, advertising, fundraising, travel. I was also solely responsible to the audience. It was a high.

I am currently working on a new piece. It will be Sam’s sequel.
( Sam is the main character in Mamakin.)


 
THEATRES  
I’ve played in all the theatres mentioned above, and also...
The Space, The Treehouse, Equity Showcase, Tarragon Backspace (these are intimate settings)
Companies I’ve worked with are the Comic Book Heroes,
(Komic Kazes), the Four Strombones, Just for Laughs.

OFF THE JOB

I’ve decided to travel. Maybe go one place a year, for now. Last year it was France, this year Greece. The world is there...who am I to say no, thank you.

I do some charity. I work for Performers for Literacy. I read to 40 or 50 children, ages 1-10.

I give blood. It’s in me to give, apparently.

I do monologue coaching for nice people.
I give improv workshops.
I organize bi-monthly writing “coffee houses”. Writers/producers share their work and discuss.


  
MY FAVOURITE BOFA MEMORY  

is really about lack of memory. I have worked with each and every team since my own, in that my mum has invited me to come home and help coach a couple of days each year. I find it hard to separate the members from year to year, because I know most of the games, and all the players. It’s become one big blur. For all I know, I played on the same team as Brian Frommer and Jessica Besser-Rosenberg..

 

  
FUTURE  

Who knows. Babies. Films. Self production. Clean my room... It’s all about perspective.

 

  
I HATE  

very little of what I do. That’s why I do what I do. As I say, even if times are tough, I live more dreams than people dream.

 

 
FAVOURITE STORY  
Moving to the big city. No one else was here at that time. Toronto has a great network of Canterbury folk, but there didn’t use to be. I moved into an apartment here with Tyley Ross, and every morning, we were faced with the challenge of maybe, possibly, leaving the apartment. Big city, cold people, scared little Ottawans. Ty and I would wake up at the crack of noon, and shuffle about in our slippers. Pounding the pavement, looking for work, being rejected by agents was not always so attractive. We would have our morning beverage.
Once, proud of my new gift, my first coffeemaker, we sat down to watch it brew. I filled the filter with grains, filled the pot with water, and slipped it onto the little burner. We sat for about ten minutes, as I proudly taught Tyley how it worked. I was surprised that he didn’t know. He kept commenting on how it was almost magical, this process of making coffee. I then noticed his smirk and realized that I had to actually pour the water into the machine so that it could pass through the grains. I’m never my smartest in the morning.
So, the days would pass like this, and we would hover in procrastination and fear, sometimes playing Chinese Checkers until 2 in the afternoon, until we could no longer avoid the real world.
The point of the story is the world was big and bad, not cuz it was big and bad, but cuz it was unknown.
 
   
 
   
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