Ira Cooper is the artistic director and founder of Spec Theatre, a small but mighty independent collective that’s relatively new to the local city scene. But for this individual, who spent the past decade honing his craft far and wide, what he offers with The Strange Hour live-action theatrical variety show is a safe space for talents from various sub-disciplines to interact with audiences, and show them why their craft matters.
When asked about how he likes to describe himself, he says he’s a self-described white settler with Jewish and Eastern European roots. After a hearty chuckle, he revealed he wanted to craft a company grounded in humour, collaboration, and community connection. As a local Fringe theatre artist, he knows what’s important. He’s also said that his appreciation developed even when he was a wee lad—ever since his mother first enrolled him in acting classes at five.
From there came school productions, a BFA in theatre, and years spent performing across British Columbia and abroad. He’s done the full gambit too: toured with the Fringe, lived and cycled across China for two years, and done shows not only in Beijing but also across the waters, in Japan too! He said, “Theatre opens cultural doors like nothing else,” before turning his creative energy toward directing and devising original works. By learning how other communities have developed this art, and as both a performer and producer, he understands the demands required of being the latter with this local show.
Also, in every city his group performs in, they donate to the Native Friendship Centre. He said, “We make land acknowledgements and encourage people to learn whose territories they’re on. It’s a learning process for me too. Theatre is a settler-colonial space; we have to keep learning how to make it inclusive.”
Through Spec Theatre, Cooper explores local issues with wit and humanity, sparking conversations that linger long after the curtain falls.
Let’s start with how collaboration fits into your creative process. Was it easy to find people who share your vision?
That’s always the hard part. Collaboration is tough but essential. When you’re young, you form theatre companies with your friends—it’s easier before ego and individualism interfere.
I’ve always been interested in collaborative creation. In Spec Theatre, our process includes everyone—actors, director, lighting designer—everyone has input. I’m usually the primary writer, but I rewrite and rewrite based on group feedback so that each person feels invested. Over time, I’ve gotten good at facilitating collaboration—sourcing people, building relationships, showing up at events, being curious about others. It keeps me grounded and connected.
When collaboration turns tense—someone wanting more of the pie—how do you handle it?
It’s difficult. Spec Theatre has gone through many iterations. The current one includes my partner, Ruby Arnold, who’s been our designer for years, and a small board led by my creative partner, Hilary Fillier.
We just returned from the Edmonton Fringe Festival, performing The Human Cat Experience, about two cats high on catnip on a mission for kitty litter. It featured cardboard puppets, sex dolls, rotisserie chicken burlesque, wild dance, and original music—composed by me.
As for The Strange Hour, which is only a few months old, what made you decide to take charge and create something new for theatre enthusiasts?
From fear, honestly. The scene here in Victoria is in an artistic crisis. We’ve lost five venues, and the Metro Theatre is next—it’s the only mid-sized venue artists like me can afford. The others are too big or inaccessible. We do have other spaces like the Ministry of Casual Living and House of Owl, but they’re different. Performance venues are scarce. We have lots of galleries but very few stages.
So The Strange Hour was born from a desire to bring artists together—a brunch variety show that’s a safe, fun space to try things. We’ve had wrestlers, burlesque, drag, comedians, a guy who makes music from bugs, comic artists, business owners—you name it. We also rotate vendors, co-hosts, and artisans. For our Halloween edition, we’re collaborating with Sustainable Fox, hosting costume contests, craft stations, even bobbing for donuts. It’s part showcase, part community hub.
How long does it run?
90 minutes, give or take. Doors open at 10 a.m., show starts at 11, done by 1 p.m. The next lineup includes burlesque by Holly Shirt, queer author Lucia M. Polis from Nanaimo, musician Zuber Singh from 123HotPot, and fringe artist Link Bechtold premiering Whale Pod.
It’s fun, but also vital. We can’t wait for the city to give us space—we’re building our own.
I love theatre in the round—where the audience surrounds the performers. Whether that’s with outdoor shows or, like in a concert, there’s just that thrill of connecting, correct?
Me too. The audience becomes the backdrop. I love interactive theatre. Ian Case’s work, Theatre Skam’s Skampede—beautiful roving shows. I once ran across the Johnson Street Bridge to “rob” the audience in a performance called The Great Scheist. We ended up giving them bags of pennies.
That’s what The Strange Hour celebrates—site-specific work, unusual venues, innovation. We pay all artists, offer accessible pricing, and never charge vendors. Art should be available to everyone.
Can you tell me more about your international work?
I collaborated with Theatre Gumbo in Osaka on Forest of Truth. They invited me to perform in Salaryman Macbeth. I acted in Japanese—two songs and dialogue on a noh stage. The form was completely different: triangular stage, spiritual symbolism, no touching it with bare hands.
It was humbling and thrilling. I played a Trump-like character, using exaggerated gestures and broken Japanese, and the audience laughed at the right spots—thankfully!
Back to The Strange Hour—for those who’ve never experienced something like it, how would you describe it?
It’s a 19+ brunch variety show. We’ve got locally made food, drinks by Driftwood, and a lineup that changes every time. It’s modelled loosely on Vancouver’s Talent Time by Paul Anthony and Brian Beal—wild, unpredictable shows where you might see a dog riding a turtle or a BTS fan group performing. You never know what you’ll get. In a world obsessed with reviews and previews, The Strange Hour brings back surprise and discovery.
It’s “brunch plus art.” Come hungry, come curious. Whether you’re a regular theatre-goer or someone who’s never set foot in a theatre, you’ll find something that surprises you.
Sounds like improv meets Whose Line Is It Anyway?
That’s not far off! Colin Mochrie actually dropped by the Edmonton Fringe this year. My co-creator Hilary pitched our show to him and made him giggle—so now we can officially say Spec Theatre once made Mochrie laugh.
The Strange Hour: Fast Facts from Ira Cooper
The very first show took place in June 2025, and it’s designed to be a regular fixture in the Victoria arts scene—typically scheduled for the fourth Sunday of every month.
Past guests
| Performer / Presenter | Genre / Role |
|---|---|
| Sylvester Stalletto | Drag King (The Chilean Stallion) |
| Zane Oak | Stand-Up Comedian |
| Adrian Reese | Expert on bugs and bug-related instruments |
| Susan Kellock | Award-Winning Chef (Culinary Presentation) |
| Zella Bones | Burlesque Performer |
| Kathleen Greenfield | Clown / Performance Artist |
| Rose! | Comic Book Artist |
| Lucia Ribiero | Stand-Up Comedian |
| Paola Beneres | Stand-Up Comedian |
| Gareth Gaudin | Comic Book Artist |
| Lak Siddartha | Wrestler |
| Vera Descent | Burlesque Performer |
Discover more from Otaku no Culture
Subscribe to get the latest posts sent to your email.
