Today we've got a treat. Yesterday I teased to the possibility of having a theatre review from one of our forum members and today we've got it! First a bit of background. Wendy lives outside of Cleveland, Ohio, and has vacationed frequently in Canada for about seven years. She's a 40-something vice president at a public relations firm, who told me that her interest in Canadian culture evolved as I discovered the amazing amount of theatre, literature, "all the arts really, that Canada had to offer that most Americans know nothing of. It's been addictive." One of the things that Wendy is addicted to is Canadian theatre and in particular Paul Gross. She can't get enough of him. I decided to try and find out just what's the attraction of Canada's number one mountie.

Hi! Wendy how did you get turned on to Paul Gross?

I first saw him when in the PBS miniseries Tales of the City in 1994. I had no idea who he was, but the nuanced way he handled his character stuck with me. I didn't initially realize that he was the same actor when I stumbled upon Due South more than a year later. It was, however, Due South that hooked me -- the way Paul inhabited his character without making him a caricature.

Is there anything in particular that sets him apart from the rank and file of studly dudes?

It's the way he inhabits his characters; you just don't see him acting. He does something that I call "acting beyond the words;" it's very subtle but palpable if you pay attention. I'm drawn to his intelligence and his humor. The pretty face that everyone focuses on so much would be an empty shell without it.

Could you tell our forum members a bit more about Gross's incredible career. Obviously he's more than just a pretty face.

He's a classically trained actor (U of Alberta); had an impressive stint as an award-winning playwright in his 20s; was playwright-in-residence at NAC and Stratford. Gross acted on regional stages through those years, won a few awards (a Dora for Observe the Sons of Ulster Marching Towards the Somme), did some writing for television (he wrote the teleplay for Atom Egoyan's Gross Misconduct, for one). He's acted in a bunch of mostly Canadian films over the years as well.

Tell us a bit about your road trip to Canada to see Gross in Hamlet.

I saw the play a number of times -- the first previews, the closing performance and in between. It's such a complex play and I wanted to see how he'd evolve with the role over time, plus I loved the whole production and cast. So every time I went to see something else at Stratford (I'm a member) I saw Hamlet too. I wasn't expecting him to return to the stage so soon in his career, and I wanted to revel in it -- who knows when it'll happen again? And I had always felt cheated that I'd missed out on what he'd done theatrically when he was younger.

Now I've got to ask the big question. How was Gross's turn as Shakespeare's immortal Dane?

He didn't play Hamlet; he *was* Hamlet. It was during the scene where he encounters the ghost of his father (played by the incomparable Juan Chioran) that I knew for certain this was going to be one for the books. Juan has him in his clutches, around the neck. Paul chokes, hyper-ventilating his body turns to rubber while his eyes practically pop out on their stalks. It was mesmerizing. The amount of emotional and kinetic energy he brought to bear on the role was almost other-worldly. His handling of the Elizabethan text was superb. He wrung out all of the biting wit and all of the darkness that's in the play, moving back and forth from profound desperation and anguish, to diabolical glee with remarkable ease.

Did you get to meet him?

I talked to him briefly at the stage door after the very first performance and then again much later in the year. Lovely man. ;) Seriously, I think that just after these performances he was on auto-pilot, literally coming down from an altered state of consciousness. Very gracious; I didn't tarry long because I hate to impose and you could see he was exhausted.

Some of the reviews up here said he was too old and too over-exposed to play Hamlet. What do you say to that?

Balderdash. In his portrayal, he actually came across as 20-ish, and even seemed to get "younger" as the season progressed. The over-exposed thing baffles me. Who cares? This talented man brought people to see a great play they might otherwise have missed. It matters not, if the man has talent -- and he brought people to see this great play who never otherwise would have, which is critical if live theatre is to survive in our culture. The only reason his having been successful on television could have been a drawback would be if he had no particular capability for stage acting. In his case, the opposite is true.

Thanks for your time Wendy. Before you go, what's your impression of Canadian culture? We're constantly worried about losing our identity to our much larger neighbours south of the border. Do you see Canadian culture as a distinct entity or very similar to the American model?

It's a very distinct entity, but Canadians seem to almost shun it. It's easy for me as an American to say this, but I hope you all find some way to better support your own cultural output. One of the reasons I've so immersed myself in it is because I find so much of our own empty and appealing only to the lowest common denominator. Your stuff is more literate, serious (though, of course, always witty) and fearless. I must have been a Canadian in another life ;)

Over and out! -- Wendy

Museum Outings: If you're a westerner with the week off and a burning desire to learn more Christ, make a point of visiting the The Provincial Museum of Alberta to see "Anno Domini: Jesus Through the Centuries." The exhibit is an extensive study on the impact Jesus has had on history, culture, people and ideas. No matter your beliefs, the profound influence Jesus has had on philosophy, art, politics, daily-life, literature and music (never mind faith) cannot be denied. But how does one even begin to amass such an exhibition? Talk about a leap of faith! Curator David J. Goa "spent the last three years working with museums, art galleries, churches and monasteries, across North America and Europe, to identify over 300 artifacts for the exhibition. He and a team at the Provincial Museum have created a multi-sensory experience as 'a way into' the themes and ideas in Jesus Through the Centuries. Goa has woven a tapestry of artworks, film, music, words and voices into an exhibition which is not about museum treasures, but about treasures of the mind and heart." If you can't make it to the show (which by the by ends this Sunday) hit the web for the highlights of the tour:

Anno Domini: Jesus Through the Centuries

Fine Tuning: Take the Load Off Fanny ... Fans of The Band and great Canadian rock won't want to miss Life & Times take on singer/musician Robbie Robertson. That's on CBC tonight at 7 pm ET