Events

• Graduating students present gritty play about oil in Canada

  Thursday, April 12, 2018 | By dvivian

  

  The cast of Lac/Athabasca takes the stage from April 12 to 14 in the Marilyn I. Walker Theatre for the last Dramatic Arts production of the 2017-18 season.

  For the final production of the regular 2017-18 season, Brock’s fourth-year Dramatic Arts students will tackle some hard-hitting Canadian issues.

  The DART 4F56 ensemble will present Len Falkenstein’s award-winning play Lac/Athabasca in the Marilyn I. Walker Theatre. The production, inspired by the Lac-Mégantic train explosion of 2013, tells the dark truth of the forces behind the disaster.

  Co-directed by Professor Gyllian Raby and student Mark Dickinson, the play premiered at the Marilyn I. Walker School of Fine and Performing Arts on Thursday, April 12 and will continue nightly until Saturday, April 14.

  

  Production poster designed by Michelle Mohammed. click to download a PDF copy.

  Audiences follow the train filled with explosive fuel as it journeys across time and place, beginning with townsfolk sharing their experiences of the tragic event and lamenting for the lives lost. The crowd is taken to tour the magnificent Athabasca glacier and meets workers at the oil sand companies in Fort McMurray, witnessing Canada’s exploitation of its land and peoples from the 1800s to now. The beauty and terror of these encounters reveal a Canadian dream as twisted as the train tracks that stretch across it.

  The DART 4F56 students unanimously picked the play not only because of its Canadian roots, but also because “it’s about something that matters,” says Raby. The production tells the story of the train explosion, but audiences can also “expect to see a First Nations story play out,” she says.

  “We were fortunate enough to be advised by Adrienne Smoke of the Six Nations and William Constant, a Cree mentor, to make sure we were approaching the Indigenous story correctly.”

  On a daily basis, Canadians are reading about the problem of oil and the exploitation of natural resources. Lac/Athabasca is a deeply Canadian play that provokes reflection on corporate greed, environmental policies and the future transportation of oil.

  In addition to Dickinson, the 2017-18 Dramatic Arts fourth-year ensemble features cast members Mackenzie Kerr, Adrian Marchesano, Sarah Marks, Michelle Mohammed, Tarndeep Pannu, Naomi Richardson and Kaylyn Valdez-Scott. Set construction is by Helena Ciuciura, costume design by Samantha Mastrella, properties design by Rebecca Downing, sound design by Jillian Wardell, lighting design by Meryl Ochoa, and projections design and production management by Chelsea Wilson, assisted by guest instructor and Brock University Dramatic Arts alumnus, James McCoy. The production team also includes Allie Aubry as stage manager and Candice Burn as head of publicity.

  Lac/Athabasca plays Friday, April 13 and Saturday, April 14 at 7:30 p.m. at the MIWFSPA in downtown St. Catharines. Tickets are $5 (plus taxes and fees) from the FirstOntario Performing Arts Centre box office at 905-688-0722 or online. Tickets will also be available at the door. Limited parking is available onsite.

  ---

  see the preview article by Mike Balsom on YourTV Niagara/Cogeco

  Tags: DART 4F56, Gyllian Raby, Lac/Athabasca, Len Falkenstein, Marilyn I. Walker Theatre, MIW Theatre, oil
  Categories: Current Students, Events, Faculty & Instructors, News, Performance Season, Plays

• Dramatic Arts students explore the theme of Expectation and Reality

  Tuesday, April 03, 2018 | By dtemprile

  

  The popular One Act Festival is coming back to the Marilyn I. Walker School of Fine and Performing Arts this weekend. Pictured is the performance of All by Myself from the 2017 One Act Festival directed by Naomi Richardson, designed by Chelsea Wilson and featuring Rebecca Downing, Jessica Johnson, Alex Boychuk, Lauren Reed and David Poirier.

  The popular One Act Festival is returning to the Marilyn I. Walker School of Fine and Performing Arts this weekend.

  Students from the Dramatic Arts Directing II course (DART 3P54) have been hard at work developing their plays under the supervision and guidance of instructor Neil Silcox and teaching assistant Kevin Hobbs. The experiential course offers students practical and real-world experience as directors, dramaturges, performers, designers and theatre technicians, often for the first time.

  Silcox says “Brock does a great job of balancing out the theoretical and experiential aspects of dramatic arts” compared to the other programs he’s worked for.

  “Developing a strong understanding of theories and then being able to get on your feet and actually do it is the only way to learn to do performing arts,” Silcox says.

  Directing II students are responsible for selecting a script, auditioning a cast, rehearsing, designing the show and co-ordinating with the dramatic arts production team on all technical needs.

  This year, the festival is presenting six shows under the theme “Expectation and Reality.”

  Silcox says he discovered the theme “after reading through each of the students’ chosen acts side by side.”

  “We didn’t offer this theme to the students and make them try to select something,” he says.

  This process allows the students to have full control and individuality with their acts, but also challenges them to tweak their shows in a way that highlights the theme more.

  “Although it may seem cliché, audience members should expect the unexpected,” says Silcox.

  The shows range from century old to extremely contemporary, absurdism to strongly political, all exploring this year’s theme from a unique angle.

  Shows being presented this year include Articulation by Alicia Richardson, Your Mother’s Butt by Alan Ball, Echo by Joseph T. Shipley, The Little Stone House by George Calderon, The Lesson by Eugene Ionesco, and The St. Valentine’s Day Massacre by Allan Knee.

  All shows take place in the Marilyn I. Walker Theatre of the MIWSFPA on Saturday, March 24 and Sunday, March 25 starting at 7 p.m. each night. Admission is pay-what-you-can and limited paid parking is available nearby. For more information on the 2018 One Act Festival, visit the Dramatic Arts website.

  Tags: DART, Dramatic Arts, Expectation and Reality, Kevin Hobbs, Mainstage, Marilyn I. Walker School of Fine and Performing Arts, MIW Theatre, Neil Silcox, One Act festival, One Acts, One Acts Festival, Pay-what-you-can, production and design, The Brock News, theatre
  Categories: Current Students, Events, In the Media, News, Performance Season, Plays

• Dramatic Arts offers three-day lineup of events

  Sunday, March 18, 2018 | By dtemprile

  

  Ruth Howard of Jumblies Theatre, Kerr Mesner of Arcadia University, and Lina de Guevara of Puente Theatre, will be part of three days of programming presented by Brock’s Department of Dramatic Arts from March 15 to 17.

  It will be a busy week for Brock’s Department of Dramatic Arts, with a theatrical performance, panel discussion and series of public workshops all lined up in a matter of three days.

  The programming, sponsored by the Walker Cultural Leader Series, takes place Thursday, March 15 to Saturday, March 17 at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) in downtown St. Catharines.

  Kerr Mesner, of Pennsylvania’s Arcadia University, will kick-off the three-day lineup Thursday with the debut of In Transit: Artistic Interventions in Precarious Times. The one-person performance piece combines multimedia, live theatrical performance and audience engagement to create an evocative and thought-provoking dramatic experience. His autoethnographic theatrical piece explores the intersections of queer identities, Christianity’s contributions to anti-queer violence and the challenges of embodying transgender identities within current political contexts.

  Mesner weaves a story arc between live theatrical performances from his 2017 piece, In Transit, and multimedia excerpts from the film version of his 2014 play, Intervention, that was part of his doctoral dissertation.

  He performs in the Marilyn I. Walker (MIW) Theatre Thursday, March 15 from 7 to 9 p.m.

  On Friday, March 16, a panel discussion, “Tensions of Engagement in the Canadian Immigrant Theatre Context,” will take place in the MIW Theatre at 7 p.m.

  Ruth Howard of Jumblies Theatre, Lina de Guevara of Puente Theatre and Professor Yasmine Kandil of Brock University will discuss how applied theatre with immigrants and refugees in Canada has evolved over the past few decades. Moderated by Brock Professor Natalie Alvarez, the panel will examine whether the medium has had a positive and tangible impact on this community, and on settler Canadians.

  Kandil began her immigrant journey in Victoria, B.C., where she worked on multiple projects exploring celebration as a means for immigrant youth to claim a space in their new home. She is currently engaged in the second phase of devising a theatre piece that examines narratives of immigration and settlement for Brock students and local immigrants and refugees in relation to expectations, obstacles and assimilation.

  Beginning Saturday, March 17, Brock’s visiting scholars and theatre makers, including two panelists from the previous evening’s event, will present workshops about their work in the Dramatic Arts field.

  Howard, founder of Toronto-based Jumblies Theatre, explores her recent Four Lands touring project in a workshop held in Studio B of the MIWSFPA from 10 a.m. to noon. Her work on issues of diversity has won many awards. Jumblies Theatre is known for its work with minority groups, engaging non-artists and a larger spectrum of participants through community-based theatre.

  Following from 1 to 3 p.m. in Studio C will be de Guevara’s workshop, which examines the different tools used to research immigrant and refugee narratives. She was the first immigrant artist to establish a theatre company in Victoria that focused solely on promoting the narratives of immigration and settlement, with the purpose of bridging the gap between the minority group and predominantly white culture of Victoria. Her work has spread to other provinces in Canada since she began her Canadian journey almost 40 years ago.

  Admission to all three days of programming is free thanks to sponsorship from the Walker Cultural Leader Series, founded by Marilyn I. Walker. However, participants are asked to register for the March workshops in advance through Eventbrite.

  The Walker Cultural Leader Series brings leading artists, performers, practitioners and academics to the Marilyn I. Walker School of Fine and Performing Arts at Brock University.

  Tags: DART, drama in education, Dramatic Arts, In Transit: Artistic Interventions in Precarious Times, Kerr Mesner, Lina de Guevara, Marilyn I. Walker School of Fine and Performing Arts, Natalie Alvarez, Ruth Howard, Tensions of Engagement in the Canadian Immigrant Theatre Context, The Brock News, Walker Cultural Leader Series, workshop, Yasmine Kandil
  Categories: Announcements, Events, In the Media, News, Visiting Artists

• Dramatic Arts presents: In Transit: Artistic Interventions in Precarious Times

  Monday, March 12, 2018 | By dvivian

  

  featuring Dr. Kerr Mesner, Arcadia University (performer) with
  Dr. Stephen Low (Moderator, Discussant and Talkback Facilitator)

  Thursday, March 15, 2018 7:00-9:00 pm, in the MIW THEATRE

  In Transit: Artistic Interventions in Precarious Times is a one-person performance piece, combining multimedia, live theatrical performance, and audience engagement to create an evocative and thought provoking dramatic experience. This autoethnographic theatrical piece explores the intersections of queer identities, Christianity’s contributions to antiqueer
  violence, and the challenges of embodying transgender identities within our current political contexts. Mesner weaves a narrative arc between current live theatrical performances from his 2017 piece, In Transit and multimedia excerpts from the filmic
  version of his 2014 play, Intervention, that was part of his doctoral dissertation.

  This performance will be of interest to scholars, graduate students, practitioners, and activists working in such areas as arts based educational research, performance studies, transgender and queer studies, religion/theology, and anti-oppressive education.

  All events take place at the Marilyn I. Walker School of Fine and Performing Arts
  15 Artists’ Common, St Catharines ON L2R 0B5
  A free community event!
  Tickets and registration not required. Limited parking available.

  Contact Dr. Joe Norris jnorris@brocku.ca for more information.

  Dr. Mesner is one of our Walker Cultural Leaders for 2017-18.  This series brings leading artists, performers, practitioners and academics to the Marilyn I. Walker School of Fine and Performing Arts at Brock University. Engaging, lively and erudite, these  sessions celebrate professional achievement, artistic endeavour and the indelible role of culture in our society.
  This education program is generously founded by Marilyn I. Walker. Please join us!

  Tags: Department of Dramatic Arts, Dramatic Arts, In Transit: Artistic Interventions in Precarious Times, Kerr Mesner, Walker Cultural Leader Series, WCL
  Categories: Announcements, Events, Visiting Artists

• Dramatic Arts presents: Tensions of Engagement in the Canadian Immigrant Theatre Context

  Monday, March 12, 2018 | By dvivian

  

  featuring Lina de Guevara, founder of Puente Theatre (Victoria) and Ruth Howard of Jumblies Theatre (Toronto), with Dr. Yasmine Kandil of Brock University (Niagara)

  March 16 and 17, 2018

  A panel conversation and workshops on the theme of Tensions of Engagement in the Canadian Immigrant Theatre Context. This event will look at how theatre has been used to create collaborative opportunities with immigrants and refugees in Canada, and what struggles lay ahead of us to bridge the divide between settler Canadians and newcomers.

  All events take place at the Marilyn I. Walker School of Fine and Performing Arts
  15 Artists’ Common, St. Catharines ON L2R 0B5
  A free community event!
  Registration required for workshops only.
  tensions-of-engagement-workshops.eventbrite.com
  Limited parking available.
  Contact Dr. Yasmine Kandil ykandil@brocku.ca for more information.

  PROGRAM:
  Friday March 16 7:00pm
  PANEL Discussion in the MIW THEATRE:
  Tensions of Engagement in the Canadian Immigrant Theatre Context
  
  This panel, moderated by Dr. Natalie Alvarez (Brock University), will feature three of Canada’s applied theatre artists who have devoted a large portion of their creative work towards working on issues of diversity, multiculturalism, and creating opportunities for immigrants and refugees to explore their narratives of settlement through theatre.

  This comes at a crucial time, as our society is witnessing an awareness of the insidious racism that exists in our country, as revealed by the Angus Reid Institute report of October 2016. Our panel will discuss how applied theatre with immigrants and refugees in Canada has evolved over the past few decades, and whether there has been a positive and tangible impact that this medium has had on this community, and on settler Canadians.

  Saturday March 17 10:00am – 3:00pm
  WORKSHOPS: STUDIOS B and C at the MIWSFPA
  
  Workshop STUDIO B (MW 247)
  10:00-12:00pm (Ruth Howard)
  This workshop will explore Jumblies’ recent Four Lands touring project, which brings together settler, newcomer, Indigenous residents of all ages and backgrounds in a gentle exploration of different perspectives on a place.
  jumbliestheatre.org/jumblies/about/staff/ruth-howard

  Workshop STUDIO C (MW 243)
  1:00-3:00pm (Lina de Guevara)
  This workshop will explore the different tools used to do research related to immigrant and refugee narratives: interviews, storytelling of personal stories, image creation, forum encounters, audience participation, etc. Lina will share the tools that she uses and those she avoids.
  linadeguevara.ca

  Registration required for workshops only.
  tensions-of-engagement-workshops.eventbrite.com

  PANELISTS:

  Lina de Guevara
  
  Lina de Guevara was the first immigrant artist to establish a theatre company in Victoria that solely focused on promoting the narratives of immigration and settlement with the purpose of bridging the gap between this minority group and the predominantly white culture of Victoria. Her work has spread to other provinces in Canada since she began her Canadian journey almost 40
  years ago.

  Ruth Howard
  
  Ruth Howard is the founder and Artistic Director of Jumblies Theatre, based in Toronto. Her work with professional artists and diverse communities has won her recognition and awards. Jumblies is known for its large-scale collaborative community-engaged theatre and interdisciplinary arts residencies, projects and productions, as well as its dedication to learning and mentorship in community arts.

   

  Dr. Yasmine Kandil
  
  Yasmine began her immigrant journey in Victoria, BC, where she worked on multiple projects exploring celebration as a means for immigrant youth to claim a space in their new Canadian home. She is presently engaged in the second phase of devising a theatre piece that examines narratives of immigration and settlement for Brock students and local immigrants and refugees in relation to expectations, obstacles, and assimilation.

   

  Our guests, Lina de Guevara and Ruth Howard, are two of our Walker Cultural Leaders for 2017-18.  This series brings leading artists, performers, practitioners and academics to the Marilyn I. Walker School of Fine and Performing Arts at Brock University. Engaging, lively and erudite, these  sessions celebrate professional achievement, artistic endeavour and the indelible role of culture in our society.
  This education program is generously founded by Marilyn I. Walker. Please join us!

  Tags: Applied Theatre, Department of Dramatic Arts, Dramatic Arts, immigrant, Lina de Guevara, Ruth Howard, Tensions of Engagement in the Canadian Immigrant Theatre Context, Walker Cultural Leader, WCL, Yasmine Kandil
  Categories: Announcements, Events, Faculty & Instructors, Visiting Artists

• MIWSFPA offers ticket promotion in honour of International Women’s Day

  Wednesday, March 07, 2018 | By dtemprile

  

  Brock Dramatic Arts students Manchari Paranthahan and Meryl Ochoa in the production of Top Girls playing at the Marilyn I. Walker School of Fine and Performing Arts March 2 to 10.

  (Source: The Brock News | Wednesday, March 13, 2018)

  The Marilyn I. Walker School of Fine and Performing Arts is offering a special Top Girls promotion in honour of International Women’s Day.

  Tickets for the Brock production’s March 9 and 10 performances will be two for the price of one when buyers mention International Women’s Day.

  The promotion will be available in person at the FirstOntario Performing Arts Centre box office or by phone at 905-688-0722. Box office hours are Monday through Friday from 10 a.m. to 6 p.m., and Saturday from 10 a.m. to 2 p.m.

  Top Girls, Brock’s second mainstage production of the year, is a contemporary play that takes a critical look at women and their relationship to power and success.

  More information on the show is available on the Brock News.

  Tags: BOGO free, Dramatic Arts, FirstOntario Performing Arts Centre, FOPAC, Main stage, Mainstage, Marilyn I. Walker School of Fine and Performing Arts, plays, The Brock News, theatre, Ticket promotion, Top Girls
  Categories: Announcements, Events, In the Media, News, Plays

• Community collaboration leads to a new play by Brock prof

  Wednesday, February 14, 2018 | By dtemprile

  

  (Source: The Brock News | Monday, February 12, 2018 by Alison Innes)

  It was a simple, yet powerful statement.

  “We need to pay attention to the lives of Niagara’s migrant agricultural workers,” René Lopez, a worker advocate, said to Brock University Associate Professor David Fancy in 2010.

  That conversation began a journey of community collaboration that lead to the production of Our Lady of Delicias by the Essential Collective Theatre, which runs from Friday, Feb. 23 until Sunday, March 4 at the FirstOntario Performing Arts Centre.

  Fancy, a professor with the Dramatic Arts program, collaborated with dozens of migrant workers and Dramatic Arts students for two years to develop the play. The story features the character of Rangel, a Mexican migrant worker who has been travelling to Canada for years to work in the vineyards and greenhouses of Niagara.

  “I’m excited by this new script,” says Essential Collective Theatres’ Monica Dufault, a long-term Brock instructor who is directing the production. “It explores migrant worker issues in considerable depth with a real artistry that I’m keen to share with audiences.”

  “Having lived in Niagara for more than a dozen years now, I still feel that this is a reality that is consciously ignored: the lives of people who are our neighbours,” says Fancy.

  The cast of four, including Carla Melo, Juan Carlos Velis, Camila Diaz-Varela and Josée Young, features an exceptional range of Canadian acting talent with extensive stage and screen credits. Brock Dramatic Arts graduates James McCoy and Jo Pacinda are creating the design and costume design for the production.

  What: Our Lady of Delicias, performed by the Essential Collective Theatre

  When: Friday, Feb. 23 to Sunday, March 4

  Where: Robertson Theatre, FirstOntario Performing Arts Centre

  SPECIAL OFFER: Present your ECT show program or ticket stub to receive a 20% discount on tickets for Top Girls presented by the Department of Dramatic Arts!

  Tags: Applied Theatre, David Fancy, drama in education, Dramatic Arts, FirstOntario Performing Arts Centre, FOPAC, Marilyn I. Walker School of Fine and Performing Arts, Monica Dufault, plays
  Categories: Events, Faculty & Instructors, In the Media, News, Plays

• TOP GIRLS: opens March 2!

  Wednesday, January 10, 2018 | By dvivian

  

  by Caryl Churchill.

  Directed by DANIELLE WILSON
  Set Design by NIGEL SCOTT
  Costume Design by KELLY WOLF
  Lighting Design by JENNIFER JIMENEZ
  Original Music by MAX HOLTEN-ANDERSEN
  Assistant Direction by MICHELLE MOHAMMED
  Dialect Coaching by JANE GOODERHAM

  When: March 2-10, 2018

  FRIDAY, MARCH 2 and SATURDAY, MARCH 3 at 7:30 pm
  SUNDAY, MARCH 4 at 2:00 pm
  FRIDAY, MARCH 9 at 11:30 am and 7:30 pm
  SATURDAY, MARCH 10 at 7:30 pm

  What would you sacrifice to get to the top?
  Top Girls opens at the MIWSFPA on March 2.

  TOP GIRLS, by celebrated playwright Caryl Churchill and directed by Danielle Wilson, runs from Friday, March 2, 2018 to Saturday, March 10, 2018 in the Marilyn I. Walker Theatre, at the Marilyn I. Walker School of Fine and Performing Arts, 15 Artists’ Common, St. Catharines.

  

  Manchari Paranthahan as Nell, Meryl Ochoa as Win, in Top Girls at Brock University.

  The Department of Dramatic Arts, part of Brock University’s Marilyn I. Walker School of Fine and Performing Arts, is proud to present an original production of this venerable play about women and power. First produced in 1982, last seen in Niagara at the Shaw Festival in 2015, this contemporary play tells the story of Marlene, a career-driven woman who is only interested in women’s success in business.

  The play is an exploration and critical look at women and their relationship to power and success. For the director, Professor Danielle Wilson, the main question at the heart of the play is “what would you sacrifice to get to the top?”

  The play follows the story of Marlene, who in 1980’s London has just been promoted to managing director of the Top Girls Employment Agency. With a magic realist twist we see Marlene celebrate her success at a dinner party with five women from history, literature, and art, and as the drink begins to flow, so do their stories of family, adventure, and loss which overlap in witty and humorous dialogue.

  

  Manchari Paranthahan as Nell, Meryl Ochoa as Win, Helena Ciurciura as Marlene, in Top Girls at Brock University.

  Throughout the play we also meet the real-life women in Marlene’s life at the office. They struggle to rise to the top of the corporate ladder but are held back by lack of opportunity and the harsh competitiveness of the business world.

  The themes and story of the play are extremely topical.  The play examines the challenges of working women who choose self-promotion and career over motherhood, family, domesticity. We learn of the cost of Marlene’s ‘successful’ life. Set during the reign of the British Prime Minster Margaret Thatcher, known as the “Iron Lady”, the play asks whether it was an advance to have a woman prime minister if we elected someone with policies like hers.

  TOP GIRLS highlights the contradictions between feminism and capitalism. A running theme throughout the play is the secrets that underpin Marlene’s success which in some ways serve to perpetuate the patriarchal structure common in many workplaces. We only learn of these secrets in the final confrontational scene with her closest family, Joyce and her daughter, Angie.

  The play is directed by Dramatic Arts faculty Danielle Wilson. Professional collaborating artists include set designer Nigel Scott, costume designer by Kelly Wolf, lighting designer Jennifer Jimenez and music composer Max Holten-Andersen. Jane Gooderham is the Dialect Coach.

  

  Helena Ciurciura as Marlene, Emma McCormick as Angie, in Top Girls at Brock University.

  TOP GIRLS showcases the talents of students in the Department of Dramatic Arts undergraduate program. Michelle Mohammed is the Assistant Director, Alicia Marie Bender is the Stage Manager, Whiney Braybrook-Byl is Assistant Stage Manager. Performers include: Helena Ciuciura, Emma McCormick, Samantha Mastrella, Meryl Ochoa, Manchari Paranthahan, Catherine Tait and Kristina Ojaperv.

  READ ALL ABOUT IT!

  Director Danielle Wilson discusses feminism, ambition, #MeToo and the unique challenge of mounting this play in a brief interview found at the bottom of this page.
  
  Fourth-year student and Assistant Director for the production, Michelle Mohammed, is writing about the development of the show in a dedicated blog: darttopgirls.wordpress.com and dartcritics.com

  The public presentation program of the Department of Dramatic Arts is an integral part of the Marilyn I. Walker School of Fine and Performing Arts’ mandate to contribute to regional cultural development and build community connections by engaging our audiences with the breadth of talent and creativity of the students, staff, guest artists and faculty of Brock University.

  The Department invites teachers and educators to bring their students to see this exciting production of TOP GIRLS.
  Read the Special Invitation to learn more.

  Marilyn I. Walker Theatre at the
  Marilyn I. Walker School of Fine and Performing Arts
  Limited parking onsite.

  Purchase tickets at the FirstOntario PAC Box Office
  905.688.0722 or online firstontariopac.ca
  Tickets: $18 Adults|$15 Seniors/Students| $5 eyeGo | $12 Groups
  *Applicable fees and taxes are extra

  See the article in the Brock News.

  ---

  We asked the director of Top Girls, Professor Danielle Wilson, about feminism, ambition, and the unique challenges of mounting this play.

  What type of feminist beliefs does Top Girls draw upon?

  The play is an exploration and critical look at women and their relationship to power and success. For me the main question at the heart of the play is “what would you sacrifice to get to the top?” Something is always sacrificed, whether it be relationships, personal integrity, mental health, leisure time etc., in the pursuit of success. Top Girls looks specifically at women’s responsibilities and relationships with each other in a capitalistic and individualistic society. It tackles these issues in a broader political spectrum vs. it being about women overcoming their oppression. You can’t get away from being a woman in this play, no matter how hard these women try. What I understand is that the play was inspired by two streams of feminism: one which is about changing the economic situation for everyone which is more collectively oriented and one that accepts and supports an individual’s success over the collective gain. Top Girls examines an individualistic society in which the few thrive at the expense of many and one in which isolated female success overshadows the plight of the majority.

  How do you connect the feminism of the 1980’s portrayed in Top Girls to feminist movements and/or beliefs today? How do you think our students will understand the representation of feminist thought in your production?

  Fourth wave feminism, which we are seeing now, tends to be more collectively oriented. Social media started an entire #MeToo movement, which questions abuse of power. Top Girls discusses power and success in relationship to women. The main character in the play, Marlene, tends to use what one might call more ‘masculine’ tactics in the workplace. The entire corporate structure has been built on more masculine characteristics of leadership. When a woman is in a top position, masculine qualities can run contrary to what is expected of her gender, so she may be perceived as cold or distant or a bitch. Margaret Thatcher, who serves as an unseen character in the play was described as the ‘Iron Lady”, but no man who ruled in the way she did was ever called the ‘Iron Man’, he was just a man. She even had voice lessons to help her sound more masculine so that her cabinet would take her seriously. One of the characters in the play, Nell says that “an employer is going to have doubts about a lady, whether she’s got the guts to push through to a closing situation. They think we’re too nice. They think we listen to the buyer’s doubts. They think we consider his needs and his feelings.” We’re becoming aware that there is more than one way to lead and it is not an imperative to oppress or step on others in order to succeed.

  I think students will recognize the issues being debated between Marlene and Joyce as they each argue opposite political viewpoints. Today, there is definitely a more collectively oriented mindset as evidenced by the Occupy movement, Idle No More, and the #MeToo movement. There is resistance to the social and economic status quo. Young people, both men and women, are building strength through bonds with each other and challenging systemic abuse, racial profiling, and poor economic prospects.

  What is “the top”?

  I think it depends on the person. Success and reaching ‘the top’ is complicated and is defined by each person differently. For some it may be reaching the top over someone else, for others it may be reaching the top of one’s own potential.

  Marlene’s character seems to be the one striving for the “top” and stepping on anyone in her way, should we be feeling empathy for her? Should we like or dislike her? What should we be learning from her actions?

  I think ultimately it will be up to the audience to decide how they feel about her.  We learn a lot about her personal life in the third act and what she has sacrificed to get to where she is. Caryl Churchill, the playwright, has written a complex character who is flawed, but what human being isn’t? Some may admire and empathize with her actions. She did what she had to do. Others may not. We see both sides of the story in the final act in which she has a showdown with her sister, Joyce, who has taken a very different path in life. Ultimately, Churchill has written a play that involves more questions than answers, but that’s the beauty of it, you get to chew over these questions after the play is over. To me, that’s the mark of a great play.

  Are there significant challenges with this production that our audience would be interested in knowing about?

  The play involves a big dinner party at the very beginning. Caryl Churchill has written overlapping dialogue where people are talking over each other, like at a real dinner party. It has been challenging to choose what the audience hears and doesn’t hear.  Sometimes the audience will hear both and have to choose which to listen to. It has been both a challenge as a director and as an actor. Not only must the actors learn their lines, but they must also learn when they begin speaking in the middle of someone else’s line.

   

  February 17, 2018
  /dv

  Tags: Caryl Churchill, Danielle Wilson, Mainstage, Top Girls
  Categories: Events, Performance Season, Plays

• Playwright/Actor Damien Atkins to Visit Brock Department of Dramatic Arts

  Tuesday, January 09, 2018 | By dtemprile

  

  Toronto based actor and playwright Damien Atkins will do a reading from his work followed by a conversation with students in DART 3P92 Scriptwriting

  Date: Tuesday Feb. 13

  Time: 10:30 am

  Location: STUDIO B MW247 Marilyn I. Walker School of Fine and Performing Arts

  This is a free community event! All are welcome to attend.

  Damien Atkins is a playwright and actor who has performed across Canada and the United States. Playwriting credits include miss chatelaine (The Grand Theatre/Theatre Passe Muraille), Real Live Girl (Buddies in Bad Times/Manitoba Theatre Centre/The Grand), the adaptation (with Marjorie Chan) of Hisashi Inoue’s play In The Garden, Two Suns for Crow’s Theatre, Good Mother (Stratford Festival), Lucy (Canadian Stage Co./Ensemble Studio Theatre – NYC/Delaware Theatre Co.), The Mill, Part Four: Ash (theatrefront), The Gay Heritage Project (with Andrew Kushnir and Paul Dunn – Buddies in Bad Times Theatre), and We Are Not Alone (Crow’s Theatre/Segal Centre). He is the youngest playwright ever produced by the Stratford Festival. Damien has been nominated for nine Dora Mavor Moore Awards for acting and writing, including nominations for Best New Play for Lucy and The Gay Heritage Project. He has received the PRISM/UBC Creative Writing Residency Prize for Good Mother and a Dora for Best New Musical for Real Live Girl. Damien has been playwright-in-residence at UBC, Canadian Stage, Crow’s Theatre, and Factory Theatre, as well as a Guest Instructor at The National Theatre School.

  Tags: Damien Atkins, DART 3P92, Department of Dramatic Arts, drama in education, Dramatic Arts, Free community event, Marilyn I. Walker School of Fine and Performing Arts, Scriptwriting
  Categories: Events, News, Visiting Artists

• The State of Our Art: Drama in Education and Applied Theatre in Ontario

  Friday, November 03, 2017 | By dvivian

  

  The Department of Dramatic Arts, Brock University and the Walker Cultural Leader Series presents:

  The Second Drama in Education and Applied Theatre Symposium.

  January 26 and 27, 2018

  Our world as we know it is rapidly changing, with scholars identifying present events as ‘post-normal’ (O’Connor and Anderson 2015). In this climate of anxiety and political uncertainty, how is the practice of drama in education and applied theatre a means to respond to and attempt to speak back to these times? The lectures and workshops will offer key insights into how our scholars use this practice to grapple with these issues.

  Featuring Julie Salverson (Queens University), Kathleen Gallagher (OISE), and workshops by by Professors: Kathleen Gallagher, Joe Norris (replacing Kathy Lundy as listed in the PDF), Julie Salverson, Larry Schwartz, and Belarie Zatzman.

  for more information download this PDF.

  Keynote: Friday, January 26 7:30pm
  Professor Julie Salverson, Queens University

  Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts

  All of us today, as scholars, artists and citizens, are challenged with listening to and telling forward the story of this home we call Canada. As we consider this task, where are the possibilities for change, for hope, and for honest listening – listening not to consume and extract (what scholar Dylan Robinson calls hungry listening) but to acknowledge and attend? I will talk about ways to think and feel about what it means to witness and respond to calls for justice as whole people who draw upon a rich variety of resources. How do all of us, individually and collectively, honour our own heritage, traditions and teachers? How do we bring these to the table and to how we live, work and attend? What do each of us offer to the conversation? This is about what it means to be “on the ground”, to negotiate the challenge to witness with the alarm and feeling of consequence that entails a meeting with a traumatized environment. I will draw on Karen Barad’s performative metaphysics, Donna Haraway’s “staying with the trouble” and E.V.Walter’s discussion of “places of experience” to re-imagine my ideas of foolish witness.

  Keynote: Saturday, January 27 9:00am
  Professor Kathleen Gallagher, Ontario Institute for Studies in Education

  Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts

  In this keynote, I will use a case study of one research site in Lucknow, India, in my current multi-sited, applied theatre research, Youth, Theatre, Radical Hope and the Ethical Imaginary: an intercultural investigation of drama pedagogy, performance and civic engagement (2014-2019) to consider how drama can ‘speak back to these times’ if we deem- as some social innovation theorists do- the social world as made and imagined. How have the students in India, and how might we in our various pedagogical and creating contexts, use theatre to understand social systems and imagine a progressive sociality? In India, using drama, performance and critical dialogues, the work is both deeply political and radically hopeful through the ways in which it reorients, redefines and revisions the social world. Their classroom practice follows from a 19th century feminist theatre history, I will argue, that enables a transformative ambition, just what is needed in these harrowing global times. As democracies thin under populist and neoliberal regimes across most nation states, the young people and their teachers in India have long understood the power of collective opposition as a social practice and political resistance, but they have also seized upon drama and performance as the most powerful means to this end. Social innovation scholars have suggested that by harnessing what they are calling “collective intelligence”, it may be possible to dramatically improve societies’ ability to tackle seemingly intractable social problems. The students at Prerna school in India have positioned theatre as a “language of care” and a central tool for understanding the political economy and deconstructing the forces of oppression. It is time for all of us to harness the unimaginable, in our classrooms, on our stages, and in the street.

  Workshops: Saturday, January 27, 2018
  DART Studio A workshops: Julie Salverson (10:30 am-1:00 pm) / Belarie Zatzman (2:30-5:00 pm)
  DART Studio C workshops: Joe Norris (10:30 am-1:00 pm) / David Booth (2:30-5:00 pm)
  DART Studio D workshops: Larry Swartz (10:30 am-1:00 pm) / Kathleen Gallagher (2:30-5:00 pm)

  Julie Salverson, Queens University.
  10:30 – 1:00, Studio A
  Who we are as witnesses
  I have facilitated a few sessions this year based on a Quaker practice of holding a question in the light. The question for this workshop is: how can we live together better? I will speak for a few minutes about the deep preparation I require to enter the thorny territory of witnessing, the heritage, traditions and teachings that inform my work, and what a response to these times means to me. I will then invite people in the room to speak to this. There will be no direct interaction or discussion, this is about witnessing and listening.

  Joe Norris, Department of Dramatic Arts, Marilyn I. Walker School of Fine and Performing Arts, Brock University.
  10:30 – 1:00 Studio C
  Reexamining Canadian History through Story Circles, Picture Interpretation, Tableaus, Choral Speech and Writing in Role
  Award winner for his publications in his pioneering work in playbuilding as research, duoethnography, a form of dialogic research, and alternative forms of arts-based assessment, Joe also devotes considerable time developing and piloting units of teaching the curriculum through drama. While this workshop will focus specifically on the Klondike, the approaches used can be applied to many curricular topics.

  Larry Swartz, Ontario Institute for Studies in Education (OISE), University of Toronto.
  10:30 – 1:00 Studio D
  MORE THAN A PLAY
  This practical interactive workshop will demonstrate strategies for using minimal and dialogue scripts to enhance interpretation skills, to build community and to address social justice issues. Handout provided.

  Belarie Zatzman, Department of Theatre, School of Arts, Media, Performance and Design, York University.
  2:30 -5:00 Studio A
  Performing Objects
  In this workshop, we will consider participatory practices that can be used in history, art and drama classes, or in museum / gallery contexts. We will explore applied theatre strategies for examining and interpreting “performing objects” in order to help us construct our encounters with archival objects or artworks, from the present.

  David Booth, Ontario Institute for Studies in Education (OISE), University of Toronto.
  2:30 -5:00 Studio C
  A Novel Approach to Drama
  This workshop will explore the Young Adult novel as a source and inspiration for improvised role playing leading to dramatic scene building. This genre of contemporary literature is written especially for our students, and explores issues of coming of age, relationships, social justice, and identity. As teachers, we can use the themes and events in these texts as stimuli for interpreting, exploring and inventing situations and scenarios as a whole class, working in groups and partners, as we construct our scenes into a playmaking conclusion.

  Kathleen Gallagher, Ontario Institute for Studies in Education, University of Toronto.
  2:30 -5:00 Studio D
  Verbatim Theatre: telling other people’s stories
  Physical, ethical, social, and artistic questions converge at the centre of Verbatim Theatre practice. This session will invite participants to explore and examine some of the techniques and practices that are currently in use, in the evolving genre of Verbatim Theatre. Part story-telling, part composite, part-mimicry, part invention, the work will invite critical discussion about the skills, the social value, and the creative impulses connected to this form of theatre-making. Extending its reach beyond theatre and performance, Verbatim has found a place, too, in social science research. Harnessed to ideas about power relations and ‘collaborative’, multi-vocal, qualitative research practices and forms of dissemination, this genre of theatre further opens up discussions about the ever-expanding defi nitions of research methodology.

  Marilyn I. Walker School of Fine and Performing Arts, Brock University
  A free community event, please register for the workshops:
  the-state-of-our-art-symposium-workshops.eventbrite.com
  (Maximum 20 per session)

  for more information download this PDF.

  Please note that limited parking is available at the MIWSFPA for guests and presenters on a first come, first served basis.

  Due to multiple event programming on the evening of Friday, January 26 please allow ample time to find nearby parking.

  Tags: Applied Theatre, Bellary Zatzman, drama in education, Joe Norris, Kathleen Gallagher., Larry Swartz, symposium
  Categories: Events, News, Visiting Artists