Jane Luk is a celebrated Canadian actress, comedian, and improviser whose career spans stage, screen, and voice work. She is currently appearing as Maureen Alvorson in the highly anticipated horror television adaptation of Stephen King’s *The Institute*, which premieres on MGM+. We had the opportunity to catch up with her to discuss the project and more! to discuss the project and more!
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A pleasure to catch up with you, Jane. You’ve said you knew you wanted to perform from the age of five, inspired by legends like Carol Burnett and Lucille Ball. Can you share a memory from your childhood that cemented your love for acting and comedy?
Actually, when I watched Flower Drum Song with my parents and saw Nancy Kwan singing, dancing, playing the bad girl (though I didn’t realize that was the appeal at the time), I was really excited to see someone who looked like me was up there on the screen. But at this point, I still thought this was a dream. I thought all kids wanted to be “movie stars”.
Your high school guidance counsellor played a key role in encouraging you to pursue theatre. How did that support shape your confidence and early career choices?
When I was in high school, we had a nurse visit the school to speak on career day. It really interested me. I was also thinking of a teaching career, so I was really confused. At this point, I still thought being a performer was a daydream. When it was confirmed from an aptitude test (because they’re foolproof, aren’t they?) I was laser-focused on getting the education, knowledge, and experience I needed.
At Humber College, you trained under Gerry Pearson and landed lead roles as a student. What lessons or moments from your college days still influence your work today?
Gerry Pearson taught Stage Management and also directed some of the main shows. So, although he didn’t teach acting techniques, it was his encouragement that made me believe I was on the right track. When I first enrolled in the theatre program, there were about 30 of us. We were told that by the second year, there would be students asked to leave. I was always scared that I wouldn’t be good enough, and always worked hard.
Your first professional role was playing a 90-year-old English learner in The Primary English Class, followed by a comedic commercial spot as a samurai. How did those early, diverse experiences help you develop your comedic instincts and versatility?
I was still in first year when I played dear old Mrs. Pong in The Primary English Class. I learned so much in those few weeks of rehearsal. It was a thrill to work alongside professional actors and witness their work on stage while I was there with them. When I did the commercial, there was something subversive about it that was really fun. I was actually dressed and made up to look like a geisha, but waved the samurai sword as samurai-like as I could. I learned the concept of comedy comes out of unpredictability.
You’ve been a fixture in Canada’s live comedy and improv scene for decades, performing with The Second City, Bad Dog Theatre, SoCap Comedy, and Theatresports. What keeps you coming back to improv, and how does it inform your work on stage and screen?
I guess when you do something long enough, you become a fixture! I love that I’ve achieved fixture status! First of all improv is an art form that utilizes spontaneity through active listening, watching, awareness, give and take. For me, being in the moment, connecting with your scene partner, and connecting with your emotional state requires you to have all those skills at the ready.
Teaching improv and drama has been a big part of your career. How has working with students and corporate clients shaped your own approach to performance and creativity?
I love teaching. Each time I teach I also learn from my students (whether they realize it or not). It’s an exercise in empathy. I try to be aware of their energy and stress level. It’s become a fine art as to when to push and when to let go. We’re all vulnerable when we create. I try to approach a character from their vulnerability and then build on the layers.
On screen, you’ve played everything from rebels in westerns to angels in holiday films, and appeared in acclaimed series like The Handmaid’s Tale, Murdoch Mysteries, and Kim’s Convenience. What have been your most memorable or challenging roles, and why?
When I did the stage version of Kim’s Convenience, I had to learn Korean phonetically. Not only did I have to learn how to speak my lines in Korean, but I also had to learn my cues, and on top of that, I also had to sing a hymn in Korean! I speak Cantonese and there were sounds I’ve never made in my language. I spent every moment in between scenes going over the Korean. My greatest praise came when I went to meet audience members after a show. A group of women began to speak to me in Korean, and I had to tell them I don’t speak! They were amazed because they couldn’t tell.
Loved doing Murdoch Mysteries because it was a period piece (as was Lonesome Dove), but I felt strongly about a fusion of western and eastern dress. My character was a businesswoman, so I felt she would have both Western and Eastern pieces after being in Canada for that length of time.
Your recent stage work includes a Stratford Festival debut in Les Belles-Soeurs and starring as Umma in Kim’s Convenience. How does performing live on stage compare to your work in film and television?
Both stage and screen still demand authenticity, truth. With stage, you hear and experience the immediate response to your performance. With film and tv, you trust that the camera captures the truth of the moment, but you’ll have to wait and see.
Of course, the size and amount of energy that you need to expend is larger on stage as you need to send it out to the back of the house. With film and tv, you are sending it towards the lens, so the energy appears less, but it’s just more contained.
Voice acting is another exciting part of your career, with credits in animation and video games, such as Star Wars Outlaws and Deus Ex: Human Revolution. What do you enjoy most about voice work, and how does it differ from performing in front of the camera or on stage?
I love doing voice work as it’s an extension of me to express a character. Recently, I did an audition for a video game with a made-up alien accent. That was so fun to do. Also, I feel more relaxed. I wear clothes that are comfy. It’s wonderful to make the words and sounds work for the director.
You’re currently developing the scripted podcast Til Death Do Us Part, where you play Kitty O’Donahue. What inspired this project, and what can listeners expect from the series?
I was voicing a number of voices for a friend’s old timey space radio podcast parody called “Flashman” set in the 1920’s. My friend Sam Agro (also in this cast) asked me to team up to write one with more characters for us to play. He suggested a Murder Mystery. We had a few meetings and came up with a wife and husband who solve mysterious murder cases though not necessarily together. She’s a star reporter and he’s head of the Department of Uncanny Cases. We’ve talked about murders involving a “curse”, a psychic, zombies…. Oh yes and it’s funny! It needs to be funny! We were inspired by some old 1950’s black and white serials.
With your upcoming recurring role as Maureen Alvorson in Stephen King’s The Institute, what drew you to this project, and what should audiences look forward to from your character and the show as a whole?
I originally auditioned for another role for the series. When I got a recall it was for Maureen. Jack Bender was at the audition, and I am really thankful that he liked what he saw in me for the original role enough to see me for Maureen. I hadn’t read the book and only went by the info on my sides. After my first pass, Jack gave me some notes (big ones!) and asked me to do it again. For some reason, I knew exactly what he wanted. This added such a dimension to what I already had for the character. He pretty much booked me on the spot.
I hope the audience is patient enough to ride along with Maureen as she navigates through what seems like a hopeless situation for her. She is the only other adult female besides Ms. Sigsby. Sigsby is the top dog while Maureen is very much the very bottom dog. I loved finding reasons for her to move forward each day.
Where can our readers follow and find out more about you?
They can follow me on Instagram: https://www.instagram.com/janelukpicard/
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