Award-winning actor, Colm Feore ’77 talks Canada’s arts scene, giving back—and how his time at Ridley helped give him his start.
Even when he’s travelling, he’s working. But after forty odd years in the business, Colm Feore ’77 will tell you it’s the key to his success. With Stephen Greenblatt’s Tyrant: Shakespeare on Politics at one elbow, and a thick history of the Bard at his other, we spoke with Colm this past August when he was visiting his wife—acclaimed director, Donna Feore—while she directed Bernhardt/Hamlet at the Goodman Theatre in Chicago. “She promised me a birthday dinner,” laughs the Stratford-based actor, who just turned 61. “So, I came to collect.”
These days, Colm is delving into the ways in which Shakespeare explores the lust for power in his plays—and how society suffers at the hands of his ‘fictional’ kings. One of Canada’s most celebrated actors, the proud Old Ridleian has played many of Shakespeare’s leading characters at the Stratford Festival, and will be taking on the role of Richard III this upcoming season. The play is poised to inaugurate the Tom Patterson Theatre Centre, a stunning, 100-million-dollar space that positions the Festival at the forefront of theatrical innovation. For artistic director Antoni Cimolino, choosing Colm to utter the powerful first words at the new theatre was easy, touting the thespian as “part of the Festival’s DNA” in a recent press release. And, though rehearsals are still months away, for Stratford’s latest king there’s plenty of reading to be done.
But if you haven’t seen him on the stage, you’ll know him from the screen. “To make a living in Canada as an actor, you have to be able to do everything,” Colm imparts—and over the years he’s proved he has the chops. His impressive career has taken him from stage to film, television and Netflix, where you’ll catch outstanding performances in everything from Chicago, Bon Cop, Bad Cop and Thor; to the critically acclaimed Thirty-Two Short Films About Glenn Gould; to his award-winning performance as Pierre Elliot Trudeau. You’ll also find him capturing TV audiences in a number of popular series: think The Borgias, The West Wing, House of Cards, 24, The Umbrella Academy and more.
“The whole point of my job is to disappear,” he says simply. “That’s the job. Be something else.”
It’s a diverse body of work that reflects his mantra—just show up—in many ways developed here at Ridley. “That was always the lesson: you’ve got to be here to play,” he reflects. “And it became a very simple mantra. If you show up, you’ll learn; if you learn you’ll get better.”
Though Colm had a diverse career on campus—becoming a Prefect, taking an active role in public speaking and debate, participating in a range of sports, and becoming editor of the Acta’s sports and literary sections—it was the acting bug that got him. Colm credits Ridley’s teachers with instilling in him a genuine love for words and the stage. “We weren’t just doing the standard production of West Side Story, or whatever was making the rounds at school gymnasium plays,” he remembers. “They engaged us in a serious commitment to drama, and to the idea that there might be a life in the arts. And when you have masters and students, fellow students, above and below you, who are all into the same thing…” Colm trails off. “Well, a guy could dream.”
“That was always the lesson: you’ve got to be here to play,” he reflects. “And it became a very simple mantra. If you show up, you’ll learn; if you learn you’ll get better.”
And as his parents returned to Ridley time and again to see him act, they were learning just how good their son really was. “Once someone leaned over to them during a play and said, ‘This is very good, but it’s not really fair for them to bring in professional actors,’” he smiles.
But it was when he was applying to post-secondary school that Colm really received their endorsement, learning they’d accepted an offer from Montreal’s National Theatre School on his behalf—and suddenly the dream was off and running.
That Ridleian mantra kept Colm showing up right through theatre school and onto stage and screen, helping him navigate the requisite ebbs and flows of the biz. “Ridley’s a school that’s based on hard work and determination—your effort is going to matter just as much as your talent,” he shares. “Because for every six miracles in this industry, there are a thousand people behind them who just keep doing the work. Professionally, that pays dividends.”
And as the accolades keep coming, with peers and critics alike applauding his ability to “disappear into roles,” it’s clear both talent and hard work pay off. In 2002, Colm received a Gemini for his performance in Trudeau, and the Gascon-Thomas Award by the National Theatre School of Canada in 2013. That same year he was made an Officer of the Order of Canada, for “bridging Anglophone and Francophone cultures as a fluently bilingual performer.” This past spring, Colm was recognized for Lifetime Artistic Achievement at the Governor General’s Performing Arts Gala in Ottawa. But the popular actor takes his success in stride. “The whole point of my job is to disappear,” he says simply. “That’s the job. Be something else.”
“There’s a great application of these skills we learn communicating in the arts: speaking to one another, showing and telling our stories, exploring each other’s histories and lives. We learn from each other. And one of the best ways to do that is to take a risk, to stand up in front of people and to say, ‘I think this’—and I trust that you will find some value in it.”
In true Ridley fashion, Colm is also giving back, raising awareness of the importance of studying Shakespeare as a guest in Marvin Karon’s summer camp, Shakesperience, and as a board member of REEL CANADA, a unique programme which engages and inspires youth, and promotes Canada’s cultural identity. “REEL CANADA brings Canadian film into Canadian classrooms,” he explains, clearly passionate about the project which connects students with directors, writers, actors, and producers. “It says, ‘Here’s our story. Here’s who we are—and you’re going to see yourselves reflected in these spaces.’”
And as he sits in his Chicago hotel, thinking back to his time on the Ridley stage, of the hallways he once walked, Colm hopes his story will inspire the students who walk them now. Because he knows, perhaps more than most, that telling stories is what brings communities together. “There’s a great application of these skills we learn communicating in the arts: speaking to one another, showing and telling our stories, exploring each other’s histories and lives. We learn from each other,” he concludes thoughtfully. “And one of the best ways to do that is to take a risk, to stand up in front of people and to say, ‘I think this’—and I trust that you will find some value in it.”
This article was printed in the latest issue of Tiger magazine. Learn about our alumni, get community updates and find out where Ridley is heading next! Read more from our winter issue.
