Feature -- by Mark Sproxton

Dennis Cahill enjoys the creativity an artistic director is allowed.

If the doors were open, the audience could be heard outside, adults and kids alike roaring at the antics on stage. Some are convulsing in their seats in fits of laughter. Tonight's performance went so well because of the people on stage, but also because of those off stage, specifically, the artistic director. At the Loose Moose Theatre he's the one in charge putting all the pieces together into a cohesive whole.

"I'm responsible for what goes on stage," explains artistic director Dennis Cahill, adding that co-perpetrator may be a better job title. "Ultimately, the decisions I make directly reflect what happens on stage, from the planning of what we're going to be doing, to talking to people who are going to design the (costumes), choosing actors.... In my job you're putting together the package. In large theatres that would fall to someone else, we don't have that luxury here."

In many ways, Cahill's job as artistic director is unique in that improvisation is a very specific type of theatre. Artistic directors in other companies more commonly deal with more general theatric styles. His job resembles artistic directors in other companies, though, in that he's required to work many, many hours including evenings and weekends.

"There's no typical day," Cahill said. "I do a variety of jobs. Today I'm talking to you, doing some paperwork, going downtown to do a corporate workshop, then am back here for a rehearsal and then I'm teaching a class." For the most part, he loves the work, including the flexibility to take time and days off. "I like the performing, directing, teaching aspect of it. What I like to do the least is the administrative stuff. If I could stay out of the office that would be heaven. But that's not the way it is."

The workload came as no surprise to the long-time improvisor who has worked as the artistic director for four years after working as the assistant director for about 15 years prior. Before that, though, he literally started at the bottom and worked his way up. "I was the janitor before being the assistant director," he said, explaining that he was working as a musician and cleaned the theatre for extra cash. "I tell people here the janitors are destined to be artistic directors."

Cahill has been at Loose Moose theatre since day one. He was taking his bachelor of fine arts degree at the University of Calgary when he was asked by the guru of improvisational theatre and then instructor Keith Johnstone to help found Loose Moose. Artistic directors, however, come from a variety of different backgrounds, but most face similar hurdles in the beginning.

"When you first start out you go from job to job and likely have another job," Cahill said. "If you do establish yourself and make a living at it, it's not necessarily a great living. There's feast and famine. It is an industry very difficult to achieve financial security. The people I know who are successful are entrepreneurs. They go out and create their own work. They can perform, or write, or teach."

Dealing constantly with others requires artistic directors to have some solid skills above and beyond a thorough understanding of the theatre they are directing. "Common sense is good and diplomacy is not bad," Cahill said. "It can be very stressful because you're dealing with peoples' egos."

His advice for those considering becoming an artistic director -- a relatively limited position given Canada's small population -- begins with some heavy thinking. "Consider a different line of work," he said only half kidding. "You really, really want to have to do it. It certainly helps if you have talent. You have to have persistence and be determined and not get trapped. It's easy to allow yourself to have your ego beaten. The type of work you do is really connected with your ego. You're placing your ego on public display."