There is special satisfaction in talking to someone, who has a purpose in life that will benefit society in general, and the upcoming generations in particular. Thomson, who is also a writer, director and producer, is such an individual. When he learned from a friend, actor Marvin Karon, that it is no longer a requirement to teach Shakespeare in high school, Thomson decided something must be done about this sad state of affairs.

He, along with Karon, who is a sometime substitute teacher, and two other friends, founded a school program in 1998 called On Board with the Bard, which in 2002 morphed into ShakespeareWorks. Its original aim: to hold workshops in Ontario's schools "to show how Shakespeare can come alive on stage to those who are mystified by his words on the written page."

Thomson explained that the first concern had been to jumpstart a program that would minimize the number of teachers out there who have trouble teaching the Bard, and "to inspire youngsters who could care less about Shakespeare." About two years ago, "it became very apparent that a second stage had to come," he said that allowed the actual presentation of performances.

And that is how, after much slogging, ShakespeareWorks by the Lake has come about. "It was a long two-year haul," the actor said about the efforts to find sponsors for the group's ideas. What its members discovered in the search is that they actually had a winner on their hands because corporate sponsors are far more open to support of the arts when combined with education than arts on their own. As Thomson put it, "We had the good fortune to attract James Villeneuve from Labatt's to the board of directors of ShakespeareWorks." Villeneuve helped to bring others on board, including lawyer John Tory, former president and CEO of Rogers Cable, the RBC Foundation, and of course, Home Depot. I write "of course" because the new theatre at Ashbridges Bay is named The Home Depot Theatre

While writing this, the final touches are still being made to the tent theatre at Ashbridges Bay that will offer theatre goers not just a production of Shakespeare, but also a view of Lake Ontario. The Home Depot Theatre will have the capacity to seat 500. It has a traditional thrust stage that allows Shakespeare's plays to be presented as they were in his own time.

As the tall, lanky Thomson sees it, "Shakespeare lost something when he was moved inside," and was even further "robbed of vitality, when his plays began to be presented on a proscenium stage." The Home Depot Theatre, which will be dismantled each fall, recaptures some of the original atmosphere in which the playwright's works used to be staged. He described the theatre's unique design in a very poetic fashion as a "heaven's eye" because it allows the audience to see the sky while sitting under the tent's canopy, yet is protected from sun, rain and wind.

The tent theater is estimated to cost about $650,000. The structural elements are coming from Salt Lake City and Calgary, while the seating and other elements are being produced here in Ontario. Some of the ideas for the design are based on the Vancouver Shakespeare Festival called Bard at the Beach, which is presented annually with a backdrop of ocean and mountains, a combination for which Vancouver is famous. The new Toronto theatre was designed by Kevin McAllister, who is also the set designer for Romeo and Juliet, and who hails from Vancouver, where he has been associated with Bard on the Beach.

All in all, ShakespeareWorks is set to raise about $1.5 million to enable it to not only build the theatre, but put on Romeo and Juliet at very affordable prices. Thomson explained that through fund raising it has become possible to offer $2.00 tickets to anyone under 18 as long as seats are available, while preview and matinee performances will cost $15.00 and evening performance will be $25.00. "There is no financial impediment for families," he stated.

Thomson, recovering from a bad cold at the time of the interview, said that the continual rainy weather in May put construction of the theatre somewhat behind. Consequently, the original opening on June 18 had to be postponed to June 25, with preview performances now set for June 23 and 24. The cast of 20 is busy rehearsing at the Elgin Theatre rehearsal hall under his direction, while construction of the tent theatre is under way. Thomson, who has frequently directed at Vancouver's Bard on the Beach, is now happily involved in directing his own show, so to speak, here in Toronto.

While ShakespeareWorks has about 150 well known Canadian actors on its roster to present its school programs, most of these actors were not available for the ShakespeareWorks on the Lake's first production because of the short time available to make plans. Thomson said eight months ago he waded through about 500 resumes of actors, some of whom were familiar and other not. Several of the cast members auditioned for the parts, others he picked without auditioning. In the end, he acquired what appears to be a very respectable roster of performers. Allan Hawco will play Romeo, Mary Krohnert Juliet, John Dolan will be Friar Lawrence, Lynne Griffin will play The Nurse, Blair Williams will be Mercutio, and Capulet will be performed by Rex Southgate.

Shakespeare Works by the Lake also attracted an outstanding production team in addition to McAllister. Romeo and Juliet is choreographed by Claudia Moore, the fight director is John Stead, costumes by Astrid Janson, and the music is composed by Meiro Stamm. The list of accolades these technical professionals have accumulated is far too long to list here, with several of them having international acclaim as well.

The summer student program that Shakespeare Works added to its mandate in 2002 will also again be conducted in 2004. Students will be able to use the new theatre to get personally acquainted with what William Shakespeare is all about. They will be performing scenes from various plays during those times when the theatre is not in use during the daytime hours.

As for the future, Thomson hopes that in 2005 the company will be able to present several plays at Ashbridges Bay. This, of course, he admitted, means more fund raising. There was audible optimism in his voice, despite the cold, which leaves one inspired by such determination to disallow Shakespeare to vanish from the consciousness of the new generations now growing up.

 Thomson, who has appeared not only on stage, but in film and on television, has a leading man's style that can best be described as following in the image of a Gary Copper or Gregory Peck. No boyish, next-door roles for this man. Carrying his lanky frame with a touch of elegance, he displayed his enthusiasm for his endeavour in a vibrant  setting a few days after the interview. Now recovered from his cold, he was busy creating a display of fencing in the courtyard of the TD Centre, where in the warm noontime sun office workers sat consuming their lunches. He brought with him his actors and fight director to give people a backstage view of what it takes to carry out a sword duel on stage. What this impromptu audience learned is that it takes considerable practice, for the actors are generally not versed in the art of fencing.

No prima donna, Thomson carried signs, freely spoke to anyone approaching him, unhesitatingly posed for photos, and now and then entered the ringed-off area to give his actors a few tips, along with fight direct Stead. It was an excellent photo op for anyone interested in the visual effects of a fight scene.

The fencing display revealed that the audience will be in for a surprise in the street fight in Verona between Mercutio and Tybalt, and Tybalt and Romeo. There is a bullwhip cracking along with sabers rattling. It will make for a very interesting scene come opening night at Ashbridges Bay.

Click here  to read a review of The Lost Boys, a play written, directed and acted by RH Thomson.