What is on display? Original puppets including The Grogs and Muffy The Mouse as well as a few replicas and set props like The Friendly Giant’s Window are there. Vintage televisions are throughout the exhibition where visitors can take in a few episodes. It’s also exhibition to inspire conversations with today’s kids. Immersive and interactive stations offer more ways to explore how children’s television shows were made and enjoyed. Learn how puppets were made and how they came to life. Master puppeteer Nina Keogh was at the opening night and had mentioned how she had offered performers tips on ways to make the hand puppets come to life.

There’s even a Polkadot Door and a Mr. Dressup’s Tickle Trunk for photo opps! Visitors can also learn about the history of Canadian children’s television throughout the space. There’s a timeline on display as well as morsels of information   thoughtfully positioned.

At the opening I also had a chance to chat with actor Mark Kersey who played “Mark the Repairman” for 10 seasons of Mr. Dressup.

Kersey recalled auditioning for the show. “One of the writers of the show had in the script for a yo-yo expert to come on the show to do some tricks. At the time, I was also the Canadian National Yo-Yo Champion and actually when I was eleven years old I was the All-City Yo-Yo Champion,” said Kersey. “But when I got on the set I wanted to make sure that everyone knew that I was also an actor. I was also writing songs and could play a lot of different instruments. I think that really charmed everybody. So, instead of one episode they had me stay on for 10 years!”

The show writers created the role for him and “Mark the Repairman”  became a regular character in Mr. Dressup’s universe to help fix whatever was broken. “My character was reoccurring and I was fortunate to stay on because most visiting characters would come and do one show and we’d never see them again. But this guy kept showing up and fixing the sink or something in the shed. He would show up with his toolbox and  help Mr. Dressup but the funny thing was there always was a yo-yo in the toolbox,” said Kersey with a big smile.

Kersey also mentioned that he was also a writer on the show. “I would write my own scripts and songs. Because it was a national TV show we knew there were big residuals on our songs. All the writers did the same.”

Aside from his work on Mr. Dressup, Kersey entertained Canadians in his various in-person shows including a popular Duelling Pianos act. He also was the organist for the Toronto Blue Jays for four years and has appeared in many television commercials in Canada and the US.

Fondest memory as being part of the Mr. Dressup family?  “It actually happened near here when Jani Lauzon had a CD release party at The Horseshoe and several of us from the show had dinner at Peter Pan. Then, we went across the street to her concert. Imagine this bunch of characters and crew, including Ernie (Mr.Dressup) from this popular kids’ show at the Horseshoe? It was a lot of fun. I’ll never forget it,” said Kersey.

Jani Lauzon has an extensive career in the Canadian entertainment scene as a multidisciplinary artist and was a puppeteer on Mr. Dressup and went on to win a Gemini for her work on the show.

Fun fact…Ernie Coombs who played the iconic Mr. Dressup was a former understudy for Fred Rogers. Mr. Dressup was Canada’s longest-running children’s show (1967 to 1996) The preschool audience were taught subjects using puppets, games, songs, and costumes discovered in his Tickle Trunk.

“I’m very, very impressed with this exhibition. A lot of work when into this and I’m so glad that it covers so many of the iconic children’s shows,” said Kersey. “It brings back a lot of great memories for me and I hope the same goes for those who grew up watching us. It’s also great for parents and their kids today to visit and see what it was like to create a show back then.”

Mr Dressup to Degrassi: 42 Years of Legendary Toronto Kids TV exhibition is now open to the public at Myseum 401 Richmond in Toronto. Admission is free. More information can be found here.

Myseum is known as Toronto’s museum. Dedicated to tell the history, evolving stories and experiences that are truly about Toronto and the people who live and work here.

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Jani’s incredible career spans over three decades. She is an award-winning screen actress, a multi-award-winning stage actress, a Juno-nominated singer-songwriter (blues, jazz and traditional Indigenous Music), a Gemini Award-winning puppeteer, a director and filmmaker. Her current work in theatre landed her on Now Magazine’s list of ‘Top 10 Theatre Artists’ for 2019. Her accolades, and there are many, continue to expand including recognition for her ongoing championing of diversity in the entertainment industry.

We had the opportunity to check in with Jani ahead of this year’s ACTRA award ceremony…

Congratulations on being named ACTRA Toronto’s 2021 Award of Excellence Recipient!

JL: Thanks you. I am humbled by this. It’s an award I have often helped to create the short list and help make the choices so this is a unique reversal of the role.

Your work in the arts is multifaceted but we can’t help but wonder if they are intertwined somehow? 

JL: When I was younger I was often encouraged to focus on just one thing. I tried, I really did, but the other facets of my artistic expression kept tapping me on the shoulder. Opportunities would come up I couldn’t turn down. Then threads began to appear. My acting improved because I looked at the musicality of the language, my singing improved because I was telling stories through song, my directing blossomed because I have the understanding of looking at a story from many perspectives. I am a tree, my artistic expression is the seed of that tree, the many facets of it’s expression are the branches. All connected.

We’ve read that you have a passion for Shakespeare. So, what’s been your favourite and what was one of the most unforgettable roles for you on stage?

JL: Oh that is so hard! I just love Shakespeare. The text challenges me as an actor, I have to be on top of my game and work really hard to bring it to life, make it easy for the listening audience to understand. I absolutely loved playing Paulina/The Old Shepard with Shakespeare in the Rough during the summer of 2019. Checked that one off my bucket list. I  was very thankful to have the opportunity to play Lady Capulet in the Canadian Stage production of Romeo and Juliet directed by Vikki Anderson in 2010. Vikki let me explore Lady Capulet as I think Shakespeare intended, an ever changing persona who navigates the expectations of women inside the family structure of patriarchy. It was an exhilarating opportunity. But of course playing the Fool and Cordelia with the late great August Schellenberg was also a highlight…ahhhh, I can’t choose!

Your eyes have seen so much– as a woman as well as an Indigenous artist.  What has been some of the most challenging obstacles and what have been the most rewarding?

JL: Every single time I step on set I am aware of the privilege I have to be as storyteller. I love my work. I know that I am blessed. So I try to keep a good attitude when it comes to obstacles. But there are two I struggle with the most. I was on a panel years ago about the industry along with a prominent agent in Toronto and a young woman asked a question from the audience about navigating motherhood and career. He told her not to have children. That it was impossible. It took everything I had to remain calm. Now this was several years ago and we have made some small progress, but that moment is still so vivid in my memory. The look on that young artists face. I don’t remember what I said, but I hope I reversed the damage that had been done.

The other belief system that irks me is the “you weren’t there” syndrome. Canadian stories told from a purely white perspective that Indigenous people, people of colour weren’t part of those stories. We were there, have been there all along, in some cases very prominently placed in the history, but when it comes to making movies First Nations, Metis and Inuit participation in these stories have been erased. The most rewarding thing that is happening is that this is changing. The work around inclusivity that started a very long time ago is finally blooming. And the stories are richer as a result.

You are an inspiration with so many accomplishments in your career. Who inspires you?

JL: My mother was my inspiration. She worked very hard in her life. My father also, in his own way, over came some very traumatic experiences growing up though never gave up playing piano and creating art. After my mother it was my foster parents. I was surrounded by creative energy, love, and encouragement to be an artist from an early age. Not many kids get that kind of wave out the door.

There’s progress in the mainstream entertainment industry with more opportunities for Indigenous talent to be heard and seen, and you’ve been an advocate for the community — what would you wish for at this time?

JL: The great thing is that stories, from an Indigenous perspective, have been created by and for Indigenous people for many a century. In the last 100 years there have been countless films, music, Opera’s, jazz albums, theatre works along with visual arts and incredible craft. The Indigenous community was doing it with or without the mainstream industry. That’s the kind of resilience that has always been present, despite the horrendous and inconceivable things that have been experienced by Indigenous people. What is finally happening is that the “mainstream” industry is opening up and finally listening, interested, in come cases coerced (any way we can get there). This has already been transformative.

What I wish for at this time is that every, single, Indigenous youth, every single one, sees the value in being alive, thriving, and recognizes their worthiness through experiencing and seeing themselves represented on our screens. That’s not just for Indigenous youth. I would extend that to include Black, POC, physically and gender diverse. Let’s just open this all up shall we? Life is valuable. Stories help us see that.

Do you recall when your daughter decided to follow in your footsteps in acting? What advice and encouragement have you offered to her?

JL: My daughter struggled in school early on. I saw that she expressed herself much like I did growing up, but it wasn’t until she was in middle school when she came home one day and said to me, “I realize that I think like an artist so even if I wanted to be something else it would be hard because I would want to be looking at things from a different perspective. So I might as well just be an artist. I am in awe of my daughter. And my advise to her has always been the same, have fun. You still have to do the work, you still have to train, work at it, put in the effort, but reach for the joy of it.

Who are some up and coming bright stars that we should keep an eye on?

JL: I am in awe of the talented, creative and inspiring artists that are out there already doing some incredible things. Too many to mention!!!

What advice did someone give you that you will never forget?

JL: When I left my foster family home my foster father said to me, “No matter what you do, just do it creatively”. It took me years to figure out what he meant by that. And now that is my mantra. For those time when I am not on set, on stage, there is still a creative process as to how I approach whatever I am doing. That is the nature of being a human being. We were meant to be creative. Somewhere along the line we lost that fundamental right.

What’s next for you?

JL: Looking forward to more film work. I love film. I also have another short film I have written and would ike to make. Slated to direct a new devised work at the National Theatre School in September and somewhere on my bucket list is a jazz album with Wayne Kelso. Oh so many things to look forward to.

Thank you so much for taking the time!

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What ‘hood are you in?

I have lived in East York for over 20 years. Following a bumper year of three back to back children’s TV puppet series, I bought a house with yard. I am lucky to have been able to keep it as a freelance artist and to provide a home for my daughter as she grew.

What do you do?

I think like an artist. So I do everything that accompanies that. I have written several theatre pieces, I have 3 CD’s with a couple of Juno nominations, my 2nd short film is still circulating the festival circuit, I am a great grant writer and an artist educator. All of that revolves around being a mom first.

What are you currently working on?

Always juggling several projects. That freelance artist thing. My play I Call myself Princess is in rehearsal and runs at the Aki Studio from Sept 9-30th. I am also heading back into further exploration with another new work called Prophecy Fog, which will be produced at The Theatre Centre in May 2019. A couple of smaller dramaturgical projects and always trying to keep up on my bookkeeping. Super pumped about directing at The Shaw Festival next year with a killer play called Rope so working on the prelims and planning for that already.

Where can we find your work?

I Call myself Princess runs until September 30th, 2018 So excited about this great show. Some of my music is available on iTunes. My best creation yet, my daughter is currently strutting her stuff as a 3rd years student at the National Theatre School. www.janilauzon.com or www.papercanoeprojects.com.

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