Alex Paxton-Beesley Biography
Alex Paxton-Beesley is a Canadian actress. She is most noted for her acting roles in several TV series. Among the series include; Copper, The Strain, Good Witch, Wynonna Earp, Cardinal and Pure.
She graduated in 2008 from the George Brown Theatre School in Toronto. Later on, she went on to graduate from the Actors’ Conservatory at the Canadian Film Centre. Paxton-Beesley has been involved in stage work at The Company Theatre in Festen in 2008.
Additionally, she was involved at the Canadian Stage Company. She was also involved at the Citadel Theatre on Rock ‘n’ Roll in 2009. The Theatre Aquarius also involved her in The Woman in White. In 2017, she returned to the stage in Slip a complex. It was a psychological drama where.
In the drama, Alex Paxton-Beesley played a detective at the Tarragon Theatre. Her performance received high praise from Theatre Critic Karen Fricker. She played the role of a brain damaged shooting victim “Red” in six episodes of the TV series Cardinal in 2018.
Alex Paxton-Beesley Photo
That same year she starred as “Ann Funk” in Pure. She offers advice to budding actor students. She advises them to be mentally, physically and emotionally prepared for the reality of rejection in auditions.
She was purported to suggest to students at Niagara College Q and A session, that in around 400 of her auditions only 10 per cent or so were successful.
Alex Paxton-Beesley Age
Alex Paxton-Beesley was born in Toronto, Ontario Canada. She was born on 24th September, 1986. Her current age is 32 years old as of 2019.
Alex Paxton-Beesley Height
Alex Paxton-Beesley is pretty tall. At least for a woman. Her height is not really known. There are no details about her actual height. She is however around 6 Feet tall. We will however give you factual details when we get them.
Alex Paxton-Beesley Husband
The famous actress Alex Paxton-Beesley is pretty secretive. She has successfully managed to keep all information about her personal life a great secret. We do not have any information about her husband. We are also not aware of any of her dating history if any. We will update you immediately we get some more information.
Alex Paxton-Beesley Movies And TV Shows | Alex Paxton Beesley Pure
Alex Paxton-Beesley Movies
- 2018–19 Pure
- 2018 Impulse
- 2018 Cardinal
- 2017 The Perfect Soulmate (TV Movie)
- 2016 Private Eyes
- 2016 Wynonna Earp
- 2012 Christmas with Holly
- 2012 Flashpoint
- 2012 Alphas (TV Series)
- 2012 Beauty & the Beast
- 2012 Rookie Blue
- 2011 The Listener
- 2010–2011 Warehouse 13
- 2010 Republic of Doyle
- 2009–17 Murdoch Mysteries
- 2009 Being Erica
Alex Paxton-Beesley Television Shows
- 2018 The Spadina House
- 2017 Space & Time
- 2015 Shavasana
- 2015 Dredger
- 2014 Burnt Grass
- 2014 Dirty Singles
- 2013 The Colony
- 2012 Your Place or Mine
- 2004 The Good Shepherd
Alex Paxton-Beesley Interview
Q: Do you remember your first experience with theatre?
Alex Paxton-Beesley: Yes, I do. My very first experience with theatre, I was about four. I grew up across the street from Scadding Court, which is like a community centre in Grange Park behind the AGO. My best friend and I were in a playschool production where she played a rainbow and I played a rain cloud. I remember that because we were both really not interested in participating and I remember us both just standing on stage and being like, ‘this is stupid’. So that was my very first experience.
Q: Now I’m really curious, how did being the rain cloud affect your power dynamic with the rainbow? It feels like that’s maybe loaded casting.
Alex Paxton-Beesley: Yeah, we were pretty much an unstoppable duo, the two of us.
Q: You couldn’t be taken down by that kind of politicking?
Alex Paxton-Beesley: No, absolutely not. I think we would have bullied the other children because they didn’t have anything to do with rain. We’re friends to this day. We were trouble when we were kids. We had a lot of fun together.
Q: When did you know you wanted to be an actress?
Alex Paxton-Beesley: I always loved it but I always thought that acting was an impractical career path, so it wasn’t something that I wanted to do as my career. I did it a little bit in high school and drama club and stuff; I did a movie when I was in high school.
Q: How did you get involved with Slip?
Alex Paxton-Beesley: Danny [Pagett] and I went to theatre school together. We weren’t in the same class, but he was a year behind me. So we became friends and have always wanted to do something together. ‘Cause we think that we’re hilarious. And Alec [Toller] I knew a little bit from, you know, around the theatre community in Toronto– everybody knows everybody in some capacity. Danny and I had talked a lot about doing something together, and then they sort of got in touch with me out of the blue and asked if I’d be interested, and the timing happened to be right, and I really liked the beginnings of the idea that Alec and Mikaela [Dyke] had brought to me. So it sort of snowballed from there.
Q: What were some of the ways that your perspective helped shape the piece through that collective creation process?
Alex Paxton-Beesley: I have struggled with mental illness my whole life; I’m chronically depressed. It’s always interesting to speak to other artists, because so many artists have something, you know? Some darkness or battle they’re fighting. So it was interesting to come together with a group of people and talk about that pretty openly, about coping mechanisms healthy and unhealthy, especially in the professional world, because we all have to cope. We all have to be able to do that. And to be able to talk about it really specifically was really neat.
Q: If you were to read a log line of what Slip is about, it seems to be you’re a detective investigating Mikaela’s death. But partway through, another narrative starts emerging. Without spoiling it for the upcoming remount, how did that focus shift develop and at what point did that really become the A-plot?
Alex Paxton-Beesley: That was always there. It was very very early in the process. That was something that I responded to and I think – and I’m not sure if this is true, because it was a while ago that we talked about it – but I’m pretty sure that was Alec’s jumping off point was investigating this kind of thing. So we were always sort of researching them both in tandem, which was a really fun way to come up with a piece.
Q: The writing nomination for Slip is shared between the entire cast and Alec Toller, who directed the production. Tell us a little bit about your collaborators and working with them.
Alex Paxton-Beesley: It was a really fun process. We had a problem, though, that we all really like each other, and we all really think that we’re all very funny, so we would get together for like a four-hour block of rehearsal, and we’d spend a good ¾ of it doing bits. It was just too fun and it got to the point toward the end of our process where Alec would need to be like ‘okay guys, I need to lay down the law and say we can only do the bit for 15 minutes and then we have to work’. So that was pretty fun.
Alex Paxton-Beesley: It was cool because Paloma [Nuñez] and Anders [Yates] are both such accomplished improvisers, so they brought a lot of those great skills to the table, and so is Mikaela, and Danny and Alec have done quite a bit of work in that world but they’re also on the directing side; Alec is on the writing side of things, as is Danny; and Danny is like me, we come from the same school. We were classically trained in the same place.
Q: You play a character who, as you jump around in time, is in a very different place mentally in each scene. How did you navigate those mental transitions when the story isn’t told chronologically?
Alex Paxton-Beesley: Well, fundamentally it’s just storytelling, right? So it’s like, ‘what’s the story right now?’ Part of our creating and writing it together, we had to be very clear about what was happening when. Even if it was just for the individual performer. So, as in any work, whether or not you’re creating it, you have to know exactly what story you’re telling when you’re telling it. And that’s all that it really is when we do this piece. But my story is sometimes different from Danny’s story. And Mikaela’s is different, and Paloma’s story is different, and Anders’ story is different, and then, I think that’s what makes it interesting.
Q: As someone who’s struggled with clinical depression and is collectively creating a piece of theatre that deals with issues of mental health, is it hard to do something that feels that personal and that exposed?
Alex Paxton-Beesley: Yeah. But also really cathartic. Really cathartic and really necessary. Because when I decided to be an actor, it was because I was so sad that I was shutting down. And I realized that a really fundamental part of the way that I express myself is through making art of all different kinds but saying words out loud to another person is a really easy way to feel like you’re expressing yourself. So yeah, it’s hard and it’s scary and it is vulnerable, but I really need it. Making art is part of my self-care, for sure.
Q: Did you have a favourite moment in the production?
Alex Paxton-Beesley: Anders’ coroner character is hands down my favourite part of the play. I want him to have his own spin-off, because he’s my favourite. I love it when he comes in and just yells at Danny.
Q: What are you most excited to explore in the upcoming remount?
Alex Paxton-Beesley: Just revisiting this piece. I’ve never done a remount before. So to have so much time pass and we’ve all done a whole bunch of other things in the mean time. And we’re going to have a much more traditional rehearsal process. We also have a space to rehearse in that isn’t one of our apartments, which is pretty cool.
Alex Paxton-Beesley: But I’m definitely intrigued, and scared, and excited about what it’s going to feel like to re-invest in this character and in all of these relationships. It will have changed a little bit because they are rewriting some of it, so that’ll be cool to see too– Danny, Mikaela and Alec are tackling that.
Q: You do a lot of work in film and television and part of Circlesnake’s mandate is to explore cinematic genres and techniques through theatre. Did your experience in that world come into play in your performance in Slip?
Alex Paxton-Beesley: The thing is, there’s not a huge difference between film and television and theatre in my experience. Technically, obviously, it’s a very different medium, and when you’re finished a scene, you’re finished. You never do that scene ever again. And so something that I’ve learned from film and TV that I keep trying to bring over into my theatre work is that sense of ‘okay, so if I’m never gonna do this ever again, I might as well just do it’. That suspension of disbelief where I have to tell myself to forget that in fact I will get to do this again.
Q: What are some of the story elements that particularly draw you to a project?
Alex Paxton-Beesley: I don’t know, honestly. I’m still figuring that out. I like stories that are about relationships and about communication. That’s something that interests me in every aspect of life. I was talking to somebody about this the other day, and this might be a total segue, but the mom of one of the kids that I work with, she was telling me about how her kids speak more than one language, and what’s so cool about that is it means that they know that a glass is a glass, but it’s also une verre, so it expands your mind enough to understand that this isn’t just one thing. It’s more than one thing. And everybody’s going to communicate differently. I’m really interested in the way that we lose our way when we’re trying to communicate, and the repercussions of that.
Q: Tell us a little bit more about your film and television work. What have been some of your favourite projects?
Alex Paxton-Beesley: I’m on a show right now which was just a dream to make and I really hope we get a second season – it’s called Pure, it’s on the CBC, and that has been one of the best experiences of my career. We shot it out east, which is just my favourite place probably in the world, and we had a phenomenal crew and really excellent writing, and I wish that we’d had more time to research but I always wish that I have more time to research.
Q: Do you have any other projects or things coming up that you want to plug?
Alex Paxton-Beesley: There’s a film called Quantum Entanglements which is going to be pretty cool. They’re in the editing stages of it, so I don’t know when and in what form it will be released, but that’s pretty neat. And our Slip remount. It’s coming up fast. We’re gonna be doing it [opening March 23rd] at the Tarragon workspace, which I’m pretty excited about.
Q: Is there anything you’d like to add?
Alex Paxton-Beesley: I really hope Toronto sports teams do really well this spring. That’s what I want to add. I really want our guys to do really well and be proud of themselves because I just love them so much.
Q: So the main goal is that they be proud of themselves, whether they win or not?
Alex Paxton-Beesley: Absolutely. I want them to feel like they played their hearts out and they had a good time and their friendships are strong and they’re feeling good about what they’ve done for their teams because I’m proud of them so far. That’s honestly like all I’m thinking about today. I don’t know why.
SOURCE: https://www.myentertainmentworld.ca