November 29, 2023
Oliver Canales-Greenwood: A Passion for Theater
STORY BY Meaghan Burke / edited by emily trage
Oliver Canales-Greenwood (‘26) is a scenic designer, actor, and props creator who is a current Sophomore at Ithaca College. Born in Russia and having moved to the United States with his two parents, he has always been involved with the behind-the-scenes of theater. Theater has always been a passion of his and continues to be as he is studying theatrical production and design, with a primary focus in scenic design, a secondary focus in the design of scenic art, and a third focus in performance.
Meaghan Burke sat down with Oliver Canales-Greenwood in late October to discuss his latest productions, as well his interpretation of the world of theater.
MB: What parts of theater are you personally involved in?
OCG: I am a scenic designer and a performer for the performing arts specifically.
MB: How did you begin this exploration inside the theater?
OCG: It started about thirteen years ago. When I was six years old, I did a production of A Midsummer Night's Dream at SUNY Purchase. And I think from that moment, I fell in love with the world of theater. So, over the course of time, doing more productions and really taking time to figure out what aspects of theater I really admired and wanted to pursue, it slowly morphed from performance to design. And there was a time where it was lighting design, there was a time where it was costume design. Today, it’s scenic design. And I think that was also a financial factor — when it came to breaking down the barriers and breaking down the sustainability of a career in the world of theater, it was definitely a deciding factor.
MB: When you first started, was it because you wanted to become part of theater? Or did somebody push you into the theater?
OCG: I absolutely think that I always had a passion for the performing arts. I think my parents so wonderfully propelled me forward on that mission and on that journey by constantly supporting my every wish, no matter how crazy it was — the countless times going to Home Depot, spending so much money just to build a set in our backyard, or saving up cardboard to build a model. My parents really did everything that they could in their power — and they still do to this day — to facilitate that passion and drive it forward for me.
MB: How many shows have you personally, directly been involved with?
OCG: I have done just over thirty-eight shows over the last thirteen years of my life, which is a lot by any standards.
MB: How do you feel about coming into college and university with that many shows under your belt?
OCG: I think I benefited from it. Definitely, from an application standpoint, it helped, and it was a boosting factor. But I think also coming in and remembering that I haven’t learned everything that there is to learn about the world of theater is a very, very important factor for my personal growth as a designer and as a performer. And remembering that every single day you learn something new. Without seeking a higher education in the world of theater, I would not be as advanced as I am today.
MB: That’s definitely a good point. I think something that also was really important to your variation of theater is that you came into theater from an educational standpoint, but you also proactively put in effort from such a young age to always get better — from going to Home Depot, to learning choreography and the songs in your own time. Has there been a recent show produced at Ithaca College that you are particularly enamored with?
OCG: Let me start by saying that I think every show that this college has done is a testimonial to how talented the group of students are inside this building. I mean, I’m so honored to be friends with each and every one of the students in this building. And on this campus, too. I think there’s a level of community at this school that is valuable and necessary to a college experience. And I don’t think that I would have found that anywhere else but at Ithaca College. But going into that theatrical work side with that educational exposure, I think of a show that the college did in the fall of 2022, which was Into the Woods — a gorgeous show with lyrics and music written by Stephen Sondheim and book by James Lapine. It was just a gorgeous show. And I was on the scenic art proof for that show. That was also what propelled me to take an interest in scenic art, and not just a primary focus on set design.
MB: Because you have mentioned how you have done productions both through schools but also off campus, is there a recent production that you have done outside of school?
OCG: I think that every show that I have under my belt and on my resume has left an impact on me. And I think that one of the joys and beauties about theater is that every time you do something new, you develop a higher passion for it. I think that there are a few instances of very profound shows that I have done in my career.
One was this past September/October. We did a production of Monsters of the American Cinema at the Kitchen Theater here in Ithaca. I was honored to be the props designer for that show. I worked with a team of incredible designers, directors, and leading actors who just blew me away every time I sat in our technical rehearsals to watch them, and even on opening night. It brought me to tears watching those two just shine on the stage and seeing all our collaboration in the work that we had done together. I think that was definitely one of the highlights of my career.
I think the other main highlight was working on my theater crew in high school. I was always sort of a teacher's pet, so to speak, and I would really push myself to dive into all realms of theater and not just stay in one lane. I was very much (figuratively) that car that was swerving in and out of all those lanes. But I think that really propelled my career so much. Senior year of high school, I was named the first student set designer ever in the district of my high school, solely because of the fact that I would be in rehearsal. And if I had five minutes to spare, I would go to the theater, and I would paint half the set. And then I’d go back into rehearsal. And I would just sort of live my theatrical days in high school doing that. I think having that multifaceted tool belt is really important.
MB: You do — literally and figuratively — actively take words on paper, and translate them into visuals — both as an actor embodying these characteristics, but also as a set designer bringing the surroundings towards both the actors and the audience. You’ve had to dig deep to come up with these interpretations. What do you have to say about coming up with these creative ideas?
OCG: I think that it’s important to remember that design can be found all around. My mother, who’s a critically acclaimed architect, has repeatedly told me every day of my life that design can be found all around. And that everything we look at is inspiration for design. With that said, focusing more on a show — really finding out the design of a show — is based on what that show is and who the director is. I, as the designer, facilitate and create the surroundings that the director wants to see on the stage essentially. That’s not to say that we don't have creative liberty and license, because the designs that come out are solely our idea. But we are influenced in that design by the director. And I think more of the script side, too. Analyzing a script is really important, because you have to read it a number of times to understand what the story is, to understand who the characters are, to understand the surroundings that these characters live in.
MB: There are a lot of emotions tied within theater, both from a distanced point of view, but also from the actors who are up front and center. Emotional ties can be both good and bad within theater. Are there certain aspects of theater that you wish would change or that you could change?
OCG: I think before answering this question, it’s very important to recognize that theater is such a carefully crafted art form, and that if you change a single thing about it, you won't have the same result. That is really important to recognize.
With that said, there are factors that one wishes would change. I think that there is a level of insanity within theater. And I love that insanity, but that insanity can lead to demise at the same time. And I think that as a theatrical practitioner, that is something that one needs to be careful of — not letting that insanity loose in your mind, so to speak. I think that goes into talking about the importance of mental health in theater, and really how to factor that in so that you can be your best self within the world of theater.
MB: You bring up two very interesting parts of theater, one being insanity along the lines of doing the same thing twice and expecting different results. Have you seen that inside of theater?
OCG: I think that a lot of people enter theater as a passion. And when they choose to seek it as a higher education, they don’t consider or factor in the brutality and the brutal nature of the career. I mean, I have sat in countless audition rooms over the last thirteen years of my career — some at a pretty young age — and I have been torn to shreds. Now, while that is cutthroat and horrible, I think it also leads to personal growth as a performer and as a designer. I have reviews at the end of every semester here at school. And it is quite literally me sitting around a table with a number of professors who give constructive criticism.
That is important for growth as a designer. Taking that constructive criticism and leading your next steps with it are very important, because a lot of people do not do that. And I think those are the people who will find themselves in very tricky situations in the theatrical workforce.
I do think there tends to be a huge awareness of how good theater can make your life, and not as much significance on how bad (for lack of a better word) theater can be for mental health, and also just your psyche.
MB: You mentioned something earlier about mental health. I was curious if you had any advice for either future actors, current actors and stage designers, or anyone else who is interested in the field.
OCG: I think for performers, listen to your voice. Listen to your body. Your body will tell you when it needs to rest. And if you don’t heed those warnings, you can quite literally get sick very fast. I think for designers, take constructive criticism as a call to improve, and not as a way to tear you to shreds. I think a lot of people think that constructive criticism is a bad thing. It’s there to help you grow and improve your expertise.
MB: Now my very last question for you is a vague question, I admit. But the whole focus of this interview is art. And there are so very many different forms of art. My final question for you is, What do you consider art to be or to mean to you in particular?
OCG: I think you’re absolutely right — that is a very vague question. It’s a very hard question for any artist to answer because there is quite literally no definition of art. I think for me, art is an interpretation of expression. And it’s really somebody’s interpretation of how they view the world. One of the most beautiful things about art is that it’s not confined to restrictions. It’s not confined to a definition. It is anything you want it to be. And I think the most important thing for me as an artist is sharing that art with the world.