If you read the small print on a $20 bill you will find a quote from Gabriel Roy, saying, "Could we ever know each other in the slightest without the arts?"

Very cool to be quoted on the nation's money to be sure, but more to the point, if the nation feels strongly enough about the arts to use this quote on our venerable $20's why do we allow our governments to withhold so many of those dollars from the arts?

While the cast of Theatre Orangeville's new play, Mesa - and I did talk a lot about the play during a recent conversation - there was also some emphatic discussion about the state of the arts in Canada, 2008. I had the chance to drop in for a chat with Thomas Hauff, Andy Pogson, the two stars of Mesa and director, David Nairn late last week at the theatre's rehearsal space.

Mr. Hauff is a familiar face. He played a part in "Away From Her" with Julie Christie and Gordon Pinsent. He was invited to do a role in a new film "Adoration", directed by Atom Egoyan, due to be released soon.

Over a lifetime in the business, Mr. Hauff has worked on several other films and made regular appearances in a number of television series. In addition to those, he is credited with a long string of theatrical appearances, including the last time he and David Nairn worked together. This was 15 years ago in a co-op production of "A Winter Tale" in a church near Kensington Market, in Toronto.

Mr. Nairn called Mr. Hauff to play the part of a 93-year-old because, as he said of Mr. Hauff, "He can play a 33 -year- old and a 93- year- old. He's so flexible - so young yet old ... so Ying yet Yang. He plays four parts in this play."

Andy Pogson is on a return to Theatre Orangeville, where he last performed several roles in "Drive Test".

Back behind the wheel, as it were, in "Mesa", Mr. Pogson plays the part of a young man, Paul, who is, more or less, volunteered to drive his 93-year-old grandfather-in-law to his retirement/holiday trailer park in Mesa, Arizona. The character, Paul, is at a turning point in his life, a time of transition, as is Mr. Pogson who has recently become engaged to be married.

The third person in the play is Bruce Ley, well known in these parts as a jazz and blues musician and composer. Bruce will sit on the stage throughout the performance giving the play its musical element. Although it's not a musical, music plays an important role in the production.

What makes it so attractive is the aspect of improv that is Bruce Ley's forte. Beside the familiar tunes that are part of the script, there is also the accompaniment to the action, the musical embellishments that will enrich the story and are left entirely to the considerable talent of Mr. Ley. His influence on the texture of the production will largely dictate the mood fluctuation, the surprises and the flow. It thus becomes a whole theatrical experience.

The reflective nature of the role of Paul is what attracted Mr. Pogson to it, of a young man wanting to be more or better or different from what he is, who wants to live as the artist he is but make a living at his art too.

As do we all. When I asked them, both Messrs Hauff and Pogson revealed that they have other jobs to support their habit of wanting to eat between theatrical and film gigs. Mr. Hauff works the telephones for a chimney cleaning company, Macklams - "tell them to 'ask for Tom'!" he instructed.

Mr. Pogson waits tables and tends bar. He also hires out as an actor for hospital emergency training. As a relatively young man, Mr. Pogson noted that people still ask him when he is going to "get a real job."

The subject of money led to the lack of support of the arts and how this is changing theatre. Mr. Hauff's wife teaches theatrical arts, collaborative theatre and something called "devise theatre". Budding actor students learn dance and vocal as well as acting, for actors must be all things to all stages these days.

"There's a whole new thing coming in," Mr. Hauff said. "There's a lot more discipline, training of the mental, physical, vocal - we are using all those aspect of ourselves to explore a point of view."

David Nairn expanded, "The actor is a creator and a explorer."

Again from Tom Hauff: "This script (Mesa) is probably the result of improv being worked into a play."

They took me under their collective wings and explained further that technology and economics are driving theatre in new directions, where without adequate funding for truly enough rehearsal time and creative time, productions are more spontaneous.

Tom Hauff gave a little rant: "Canada is all about the arts - just look at our money. But it's an empty gesture. Sure the ballet, the Art Gallery of Ontario, the Museum (ROM) - they're all establishment but the little places don't get the support."

Later in the day, Colin and I went to 10 North, a restaurant jazz bar, on Highway 10, where Bruce Ley, plus two, play as a jazz trio on Friday nights. It was great to listen to them over dinner. The restaurant is cosy. It is run, so Bruce says, by people who are honourable and love music.

His comment was: "As artists, we go through life feeling unappreciated and unloved and when someone backs us ... it's just great."

Mesa runs from April 10 to 27, with the theatre's Gala on the 11th. Tickets, of course, can be purchased from the Box Office or at www.theatreorangeville. ca. The best seats in any theatre are the full ones.