Performance Season

  • PERDITA, OR THE WINTER’S TALE: our first mainstage for the new decade!

    Friday, January 17, 2020 | By

    PERDITA, OR THE WINTER’S TALE,
    ADAPTED BY GYLLIAN RABY

    Join us for our second Mainstage production of the 2019-20 season: a new adaptation of Shakespeare’s classic co-directed by Professors Gyllian Raby and Danielle Wilson, with Gerry Trentham.

    Perdita, or The Winter’s Tale, views through the eyes of a child the chaos set in motion by a father’s paranoid jealousy. King Leontes’ psychosis is terrifying as he plots to kill his best friend Polixenes on suspicion of adultery with Queen Hermione. But when he threatens the lives of the Queen and her newborn daughter, Leontes succeeds only in killing his heir, the ailing prince Maximillius. In the storm of recrimination that follows, Max steps out of Time to save his baby sister, manipulating the Winter’s Tale by imagining reality anew.

    The Department of Dramatic Arts presents this sad tale with a happy ending. The Winter’s Tale is Maximillius’ attempt to explore the situation that is destroying him, to understand its consequences and to bind his world together.

    Read the review in the Brock Press.

    See the teaser video taken during rehearsal and featuring interviews with the Assistant Directors Rina Wilkins and Emma McCormick, and performer Jasmine Case (Perdita) from YourTV Niagara.

    perspective drawing view of the set, designed by Nigel Scott

    Artistic Direction for our production of Perdita, or The Winter’s Tale.

    The text of 1612 has been re-imagined into the Cold War era of 1970’s where Shakespeare’s ‘evil’ Sicilia is an Iron Curtain country kind of power imagined by John LeCarré and ‘festive’ Bohemia is a flower-power realm where kids rebel against their parents’ values.

    It is a tale of lostness and belonging, of trust-betrayed and loyalty. The craving of a child or youth to understand adulthood, and of people stuck in a role or gender to experience its opposite, is our focus. This is a production where the god and mortal “he” is socially constructed and can be played by actors of any biological sex.

    costume designs by Alexandra Lord. (l-r: Leontes, Polixenes, Dorcas, and Perdita)

    Bring your students to a special matinee performance of Perdita, or The Winter’s Tale on March 06, 2020 at 11:30 am. Group tickets start at $13 each, and discounts available. We are pleased to offer a talkback and Q & A with the actors and creative team after the matinée on March 6th. Should you be interested, contact us for more information. Curriculum connections include Shakespeare Studies, English Literature, World Studies, History, Gender Studies and Drama Studies. The performance of Perdita is appropriate for high school audiences.

    To book your school, please contact the Production Manager Brian Cumberland for all group ticket purchases: bcumberland@brocku.ca . If you are interested in booking a tour of the Marilyn I. Walker School of Fine and Performing Arts prior to the show, please e-mail mroca@brocku.ca .

    download the poster

    Presented at the Marilyn I. Walker School of Fine & Performing Arts. Purchase your tickets at https://brocku.universitytickets.com/.

    When: Feb. 28 and 29, 2020 — 7:30 p.m.
    March 1, 2020 — 2 p.m.
    March 6, 2020 —11:30 a.m. and 7:30 p.m.
    March 7, 2020 — 7:30 p.m.

    Where: Marilyn I. Walker Theatre, 15 Artists’ Common, St. Catharines

    The Marilyn I. Walker Theatre is situated at the Marilyn I. Walker School of Fine and Performing Arts, located at 15 Artists’ Common in downtown St. Catharines, L2R 0B5. We are adjacent to the FirstOntario Performing Arts Centre and the Meridian Centre.

    See our website for maps and contact information:
    brocku.ca/miwsfpa/dramatic-arts/contact/

     

    Directed by Danielle Wilson and Gyllian Raby, with Gerry Trentham
    Set Design by Nigel Scott
    Costume Design by Alexandra Lord
    Lighting Design by Chris Malkowski
    Sound Design and Music by Max Holten-Andersen
    Assistant Direction by Rina Wilkins and Emma McCormick.

    download the rack card

    Stage Manager: Jordine De Guzman
    Asst Stage Manager Elizabeth Martin and Diego Blanco
    Production Manager: Brian Cumberland
    Technical Director: Gavin Fearon
    Shop Supervisor: Ed Harris
    Theatre Technician: Dawn Crysler
    Head of Wardrobe: Roberta Doylend

    CAST:

    Avery Delaney Florizel
    Jackson Wagner Leontes 
    Jasmine Case Perdita 
    Jesse Caines Court Judge/Jailer/Servant 
    Joanna Tran Hermione 
    Juan-Carlos Figueroa Polixenes 
    Lauren Reid Paulina/Shepherd 2 
    Leah Rantala Emilia 
    Meryl Ochoa Maximilius/Time
    Mike Hammond Antigonus/Shepherd 3
    Molly Lacey Clio/Dorcas
    Rachel Frederick Dion/Mopsa
    Taylor Bogaert Camillo

    Tags: , , , , , , , ,
    Categories: Events, Faculty & Instructors, In the Media, Media Releases, News, Performance Season, Plays, Uncategorised

  • MIWSFPA production explores relationships in today’s connected world

    Thursday, November 21, 2019 | By

    Brock students from the fourth-year Advanced Studies in Theatre course rehearse for their upcoming performance of Love and Information, opening Nov. 29 at the Marilyn I. Walker Theatre.

    published in the Brock News THURSDAY, NOVEMBER 21, 2019 | by 

    A fourth-year Dramatic Arts class from Brock University’s Marilyn I. Walker School of Fine and Performing Arts is putting its spin on the Caryl Churchill production Love and Information. 

    Opening on Friday, Nov. 29 at the Marilyn I. Walker Theatre in downtown St. Catharines, Love and Information examines relationships in a world of excess and access, where fragmented individuals struggle to connect despite having everything at their fingertips.

    The show is produced by Studio Taxi Theatre, run by students in the Advanced Studies in Theatre course, and is part of the MIWSFPA’s mandate to contribute to regional cultural development and build community connections.

    Through more than 100 characters in 60 scenes, the production looks at how love and information impacts their lives and relationships. The play moves from one scene to the next with rapid dexterity, as if the audience was flipping through the channels on a television. Viewers catch snippets of real human beings in the heart of conflicts, connection and catastrophe.

    Dramatic Arts Professor Mike Griffin, who directs the performance, says Love and Information is an exciting show because of how it structurally and thematically reflects today’s society.

    “Churchill comments on what it is like to be in the ‘swipe’ generation, constantly switching from app to app, staying connected as long as the entertainment lasts,” he says. “The play examines how information affects our relationships.”

    Griffin calls Churchill one of the most dynamic playwrights alive, paving the way to experiment with form and content. Her plays often challenge societal ideals and abuses of power, and her writing explores unconventional structures. Love and Information was first produced in 2012 at the Royal Court Theatre in London, U.K., directed by James MacDonald, and has since then met incredible success with productions across the world.

    Churchill’s script gives theatre companies the flexibility to shuffle the order of the scenes, allowing the artists to makes strong choices about how to shape the production. It means no two versions of the play will ever be the same. The stage is set up in alley-style seating, with audiences on either side of the stage and actors in the middle, providing for an intimate engagement.

    Love and Information showcases the talents of the Brock University student performers Jasmine Case, Joanna Tran, Joshua Loewen, Lauren Reid, Rachel Frederick, Shannon Fletcher and Taylor Bogaert.

    Students in production and design roles include: Frances Johnson, set designer; Rachel Frederick and Paige Hunt-Harman, costume designers; Elizabeth Martin, sound designer; Samantha Rideout, production manager/choreographer; Alexandra Chubaty Boychuk, prop designer/choreographer; Jordine De Guzman, stage manager; and Emily Clegg, dramaturg. Lighting design is by Brock Dramatic Arts alumni James McCoy.

    Director of the MIWSFPA David Vivian said student productions like this one set the Dramatic Art students up for a successful career in the arts.

    “The DART 4F56 course is a capstone experiential education-oriented course that often serves as a launching pad for the post-graduation founding of new companies and projects of creative research and theatre production in Niagara and the GTA,” he said. “Students build, produce, perform, direct, dramaturge and market these original events.  It sets them up to be highly qualified to work for a theatre or production company, and gives them the confidence to launch their own projects.”

    Love and Information runs:

    Friday, Nov. 29 at 7:30 p.m.

    Saturday, Nov. 30 at 2 p.m. and 7:30 p.m.

    Sunday, Dec. 1 at 2 p.m.

    The show is suitable for ages 10 and over. Tickets are $5 and are available through Brock University’s ticket hub online at brocku.universitytickets.com

    see the BrockTV video moment

    see the official trailer produced by Studio Taxi Theatre

    Tags: , , , , , ,
    Categories: Current Students, Events, Faculty & Instructors, In the Media, Media Releases, News, Performance Season, Plays, Uncategorised

  • Grand finale weekend for Orlando at the MIW Theatre

    Friday, November 01, 2019 | By

    Orlando, on stage at the Marilyn I. Walker Theatre, closes Nov. 2, 2019. Dramatic Arts student Taj Crozier, in the role of Queen Elizabeth, with Jane Smith as Clorinda, on the set of Orlando.

    Brock University’s Department of Dramatic Arts is set to present the final performances of an original presentation of Orlando, at the Marilyn I. Walker School of Fine and Performing Arts.

    Sarah Ruhl’s adaptation takes viewers from the witty pages of Virginia’s Woolf’s timeless novel into the sensual world of the stage, where identity is learned and unlearned. Join the ensemble as they salsa dance with gender, dash through carefully cut English gardens and land centuries farther than they began, but with the same question: Can we learn who we truly are in a world constructed to tell us who we should be?

    The students performing Orlando write about the premise of the production, the urgency of its themes and their deep work as artists. In the program notes they ask:

    “Orlando showcases the highs, lows, and complications of love. But not just love in the sense of relationships, but love in all its forms, love in all its beauty. How do we, in the 21st century, re-ground ourselves in our roots in nature?”

    Dramatic Arts student Alexandra Chubaty Boychuk has published an insightful and revealing look at the story of Orlando and this production in her article for DARTcritics.com: “Fluid identities onstage at DART: “The question generation” takes on Woolf and Ruhl’s Orlando”. Boychuk reviews some recent initiatives in contemporary theatre to represent voices that society “has tried to silence, especially those who identify as transgender or don’t identify with gender at all”:

    “Enter Orlando, a play that directly tackles questions of gender identity and how we perceive it. Orlando: A Biography was written by Virginia Woolf in 1928 and adapted into a play by Sarah Ruhl in 1998. The play follows the titular character through six centuries, starting with the reign of Elizabeth I and ending in the present day. When Orlando turns 30, they stop aging and go to sleep as a man and wake up as a woman.”

    Paige Hunt-Harman, the third-year student and actor who plays Orlando, tells us how important this work is to the students of the Department, and of Brock University:

    “We are now the question generation,” Hunt-Harman says. “We want to ask more questions; we want to challenge the norms that society has brought upon us and I really think that this play brings that to the forefront.”

    Dramaturge and fourth-year student Emily Clegg shares her thoughts about the play and their production:

    “What can be said about a play that goes through multiple centuries, including characters that all have very similar questions of identity? Perhaps what we can take from Orlando is the utmost joy in the difficulties of navigating our identities, and the resistance against the social world which tries to tell us who we should be, rather the who we actually are. It’s a beautiful tragedy that continues to mark our current moment in history.“

    Directed by Dramatic Arts faculty, Dr. David Fancy, the set, lighting and media is designed by Dramatic Arts alumnus James McCoy, with costumes designed by Hamilton-based designer and Dramatic Arts instructor Kelly Wolf and Sound Design by Dramatic Arts student James Dengate.

    Orlando showcases the talents of students in the Department of Dramatic Arts undergraduate program. Josh Loewen is the Assistant Director, Emily Clegg is the dramaturge and Frances Johnson is the Stage Manager, assisted by Peter Herbert. Performers include: Diego Blanco, Taj Crozier, Holly Hebert, Paige Hunt-Harman, Asenia Lyall, Sid Malcolm, Beth Martin, Nathan Rossi, and Jane Smith.

    The public presentation program of the Department of Dramatic Arts (brocku.ca/miwsfpa/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.

    This production premiered the weekend of October 25th through 27th. The final presentations are Friday Nov. 1 and Saturday Nov. 2 at 7:30 p.m., at the Marilyn I. Walker Theatre, Marilyn I. Walker School of Fine and Performing Arts, 15 Artists’ Common, St. Catharines.

    Tickets are $20 for Adults or $16 for Students/Seniors and are available through the BrockU university tickets website. brocku.universitytickets.com
    Group Sales and special orders are available by contacting Brian Cumberland, Production Manager, at bcumberland@brocku.ca .

    Parking is not available on-site, however, there are more than 1,000 spots available in nearby parking garages, surface lots, and on city streets within a five-minute walk to our address at 15 Artists’ Common. Visit stcatharines.ca/en/livein/ParkingLotsGarages for a list of parking locations.

    Tags: , , , , , ,
    Categories: Current Students, Events, Faculty & Instructors, Media Releases, Performance Season, Plays, Uncategorised

  • Fluid identities onstage at DART: “The question generation” takes on Woolf and Ruhl’s Orlando

    Thursday, October 24, 2019 | By

    (From: DARTCritics, THURSDAY, OCTOBER 22, 2019 | by )

    Contemporary theatre companies are making strides in representing individuals whose voices society has tried to silence, especially those who identify as transgender, or don’t identify with a gender at all. Transgender performance artist Travis Alabanza’s one-person show, Burgerz, has been getting rave reviews around Europe. Two-spirited actor Ty Defoe and non-binary actor Kate Bornstein made headlines when both made their Broadway debuts in Young Jean Lee’s Straight White Men. Canadian transgender artist Vivek Shraya is creating and performing in her first theatre piece, How to Fail as a Pop Star, at Canadian Stage next February. There’s clearly an increasing amount of work created by and/or featuring individuals who don’t identify as cisgender, but nevertheless mainstream theatre and the theatrical canon seems to me to still be dominated by heteronormative stories.

    I asked David Fancy, director of Orlando, Brock University’s first Mainstage production of the 2019-20 season, why he thinks much mainstream theatre hasn’t treated gender non-conformity or gender fluidity. “I think humans are continuously in survival mode and think in terms of binary logic because it’s a way of cutting to the chase, and it’s simple habituation,” says Fancy. “I think it actually takes work to think outside of that, and I think there’s a lot of energy and anger that goes into reinforcing those perimeters simply because historically, properties have been perpetuated along these patrilineal lines.” He explains that there’s “a history of privileging the cisgender hetero matrix that [Judith] Butler talks about, what she describes as the false stabilisation of certain sets of binaries, and so many cultural institutions are organized around that.”

    Taj Crozier and Paige Hunt-Harman in Orlando. Photos by Neil Silcox.

    Enter Orlando, a play that directly tackles questions of gender identity and how we perceive it. Orlando: A Biography was written by Virginia Woolf in 1928 and adapted into a play by Sarah Ruhl in 1998. The play follows the titular character through six centuries, starting with the reign of Elizabeth I and ending in the present day. When Orlando turns 30, they stop aging and go to sleep as a man and wake up as a woman. They stay in the biological body of a woman for the rest of the play, but nothing else about them has changed. Paige Hunt-Harman, the actor who plays Orlando, feels the character doesn’t necessarily identify as either gender: “he/she/they don’t necessarily know who they are when it comes to gender,” says Hunt-Harman. “They kind of see themselves as just this ever-flowing entity that is kind of always going to be there, always there to ask those questions, to say, ‘who am I?’ and ‘what’s to come?’ and ‘what will people think, or do I even care what people think?’”

    Orlando premiered Off-Broadway in 2010; in July of 2018, Soulpepper Theatre produced its Canadian premiere with Sarah Afful in the title role. With Brock University staging the play this year, are we moving towards a theatrical landscape (and perhaps consequently, a society) where gender fluidity is moving further into mainstream representation? Both Fancy and Hunt-Harman agree that we are. And good thing, too – especially in a university setting in which many students identify as gender non-binary or gender non-conforming, representation on the stage is important. We still live in a heteronormative society and works like Orlando are needed to disrupt and question that thinking, to advocate that people of all genders and sexualities have avoice.

    The play certainly challenges questions of gender and how we perceive it. Hunt-Harman shared the story of an early rehearsal in which Fancy asked the ensemble what masculinity meant to them, after which there was an awkward pause before someone suggested, “big muscles?” And maybe that is how many see masculinity today – the big, strong, protective man versus the frail, delicate, damsel-in-distress. But do these traits have to be separate and rigid between the sexes? This play works to blur these lines: “Orlando really starts at the beginning of the play as a very stereotypical, heroic male, the hegemonic hero of the story,” Hunt-Harman says, “and I believe by playing that up we really show the audience just how we as a society perceive masculinity — and the same goes for femininity. But throughout the play we see… that stylized gender kind of transform into something that we now are able to connect with, where it’s not necessarily one thing or the other. It’s very grey… I see masculine in the feminine and feminine in the masculine.”

    It’s not just gender that this production of Orlando addresses – it also touches on issues of racialization. While Ruhl’s adaptation has eliminated Woolf’s uses of words like “moor,” there are still remnants of racializing language that the ensemble has worked to challenge by, for example, cutting out all mentions of the word “gypsy.” When Orlando transitions from man to woman, they do so in Constantinople (now Istanbul), which is highly exoticized and orientalised in Woolf’s novel, and consequently Ruhl’s script. “There’s a whole tradition in colonial literature of white people from Europe going to a foreign place that’s exotic and they have all kinds of discoveries. This is a repeated trope in colonial texts,” Fancy explains, “and it’s left unexamined by Woolf because she takes on the question of gender, but it’s almost like it’s first-wave feminism where you have a white woman, upper class, going through these discoveries.” Without giving too much away, the ensemble has taken this scene in Constantinople and over-emphasized the racialization by being hyper-theatrical about it, before then deconstructing it.“We establish it and then just… almost campily, certainly almost cheesy, with theatrical means, take it apart,” says Fancy. “You have to make sure that if you’re foregrounding something, you’re foregrounding that it’s a construction. And you’re showing how it’s made, and how you take it apart.”

    Sid Malcolm in Orlando.

    Orlando and the questions intertwined with it come at the right time, especially with an audience likely primarily composed of university students. Young people are recognizing their power now more than ever and are questioning what has always been presented as “natural and inevitable,” as Fancy would say. “We are now the question generation,” Hunt-Harman says. “We want to ask more questions; we want to challenge the norms that society has brought upon us and I really think that this play brings that to the forefront.”

    Orlando plays at the Marilyn I Walker Theatre, 15 Artists’ Common, from October 25 – November 2. Purchase your tickets online.

    DARTCritics is a project of the Department of Dramatic Arts, founded by Dr. Karen Fricker.  Launched in 2013, the site originated as a practical way for students to train in the art of reviewing, and also sought to bring the artistic community of Brock University and St. Catharines closer together. The website features writing about theatre produced and seen in Niagara, Hamilton, Stratford and Toronto. Please follow DARTCritics as they continue to search for awesome theatre, meeting fascinating artists along the way.

    You can also follow DARTcritics here:

    @DARTCritics
    Facebook: DARTCritics
    YouTube: DART critics
    Instagram: dartcritics

    DARTcritics.com is partially funded by the Marilyn I. Walker School of Fine and Performing Arts, in support of student learning; experiential education; student professionalization; public engagement with the teaching, learning and production activities of the Department of Dramatic Arts; new ways of thinking; and the nurturing of links with our communities.

    The opinions expressed by the writers of the DARTcritics.com website are their own.

    Tags: , , ,
    Categories: Current Students, Events, Faculty & Instructors, In the Media, News, Performance Season, Plays, Uncategorised

  • Drama students to tackle tough topics in Sunday on the Rocks

    Friday, March 29, 2019 | By

    Brock dramatic arts students and cast members Catherine Tait, left, and Kristina Ojaperv rehearse for their upcoming production of Sunday on the Rocks. Produced by dramatic arts students under the company name OverHead Theatre, the show is being staged at the Marilyn I. Walker School of Fine & Performing Arts from Friday, April 12 to Sunday, April 14. Photo courtesy of OverHead Theatre.

    (From The Brock News, Friday, March 29, 2019 | By: Sarah Ackles)

    Brock Dramatic Arts students are bringing the work of Broadway heavyweight Theresa Rebeck to the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) this April with their production of Sunday on the Rocks.

    The show is produced by students in the University’s DART 4F56 class, under the company name Over Head Theatre, and is the follow-up to their successful first production A History of Everything.

    It opens at the Marilyn I. Walker Theatre on Friday, April 12 and runs until Sunday, April 14.

    Set in 1994, Sunday on the Rocks is a comedic drama about four roommates stepping into adulthood and struggling with issues of harassment, sexual assault and abortion.

    It features the talents of fourth-year Dramatic Arts students Adria Dearden, Kristina Ojaperv, Tsipporah Shendroff and Catherine Tait as the cast, and is being staged by the production team comprised of Alicia Bender, Whitney Braybrook-Byl, Leah Eichler, Juan-Carlos Figueroa, Heather Janser, Holly Kurelek, Ryan Mahon, Emma McCormick, Mae Smith and Geoff Turner.

    Director and course instructor Neil Silcox said he was drawn to this play because of the rich and complex characters.

    “Living in 1994, they are struggling with all the same issues that women face today, but without the short-hand to talk about it that we’ve developed in the past 25 years with the rise of the #MeToo movement.”

    Assistant Director Colin Williams added: “Theresa Rebeck’s writing never shies away from difficult and sensitive subjects, is never preachy and is, above all, funny.”

    Rebeck, who has four plays under her belt, was presented the PEN/Laura Pels Award in 2010 and was a finalist for the Pulitzer Prize in 2013. Her other notable plays include Seminar, starring Alan Rickman, Dead Accounts, starring Katie Holmes, and most recently, the 2018 Broadway hit Bernhardt/Hamlet, starring Janet McTeer.

    Sunday on the Rocks runs from Friday, April 12 to Sunday, April 14 at the Marilyn I. Walker Theatre of the MIWSFPA, located at 15 Artists’ Common in downtown St. Catharines. Tickets are $5 (plus taxes and fees) and are available for purchase through the FirstOntario Performing Arts Centre online box office or by phone at 905-688-0722.

    For more information and showtimes visit the DART web page. Limited parking is available on site.

    Tags: , , , , , ,
    Categories: Current Students, Events, News, Performance Season, Plays

  • Community discussion to focus on King Ubu’s relevance to today

    Thursday, February 28, 2019 | By

    Brock’s Department of Dramatic Arts is excited to bring King Ubu to the mainstage this weekend at the Marilyn I. Walker Theatre in downtown St. Catharines. The show runs from Friday, March 1 to Saturday, March 9. Cast member Emma McCormick (centre) was interviewed during last week’s media call.

    (From The Brock News, February 28, 2019 | By: Sarah Ackles)

    St. Catharines city councillor Karrie Porter will join a group of Brock Dramatic Arts (DART) students and Brock faculty members next week in a roundtable discussion on the relevance of King Ubu to today’s political climate.

    The free, public event, “Folly, feces and fake news: King Ubu, then and now,” will be held in the Scotiabank Atrium in the Cairns Family Health and Bioscience Research Complex on Wednesday, March 6 from 10 to 11 a.m.

    “We’re really happy to have Karrie’s participation,” said Director and DART Associate Professor David Fancy. “She has a rich background in social justice, community engagement and lived experience of being a woman in politics in the age of social media.”

    Students in Brock’s Department of Dramatic Arts are excited to bring King Ubu to the mainstage this weekend at the Marilyn I. Walker Theatre in downtown St. Catharines. The show runs from Friday, March 1 to Saturday, March 9.

    The plot follows Pa Ubu (a patriarchal, racist, megalomaniac who constantly talks about poop, loves himself a lot and kills everybody around him) and his wife, Ma Ubu (who pushes her husband to increasing feats of violence and narcissism), as they go on a bloodthirsty quest to take over the world.Brock’s Department of Dramatic Arts is staging the classic French production in a run from March 1 to 9.

    Fancy said he is looking forward to generating discussions on the work’s timeless themes at the upcoming roundtable.

    “Whenever we’re programming productions, we attempt to provide students and the department, and by extension the wider community, the opportunity to work through a set of themes that resonate with what is going on with the world,” Fancy said. “Given this is about a person who is obsessed with their own power, King Ubu seemed like a good fit, thematically.”

    The controversy surrounding the play’s opening run is also going to be discussed. Panelists will debate whether King Ubu opened and closed in a single night because of its controversial content, or, whether the hubbub was an example of 19th century “fake news,” intentionally manufactured and exaggerated to promote the production.

    Panelists will also explore Fancy’s adaptation of the play and the queering of main character Pa Ubu (who will be played by female cast member Emma McCormick in the Brock production).

    In addition to Fancy and Porter, panelists will include Professors Leah Bradshaw (Political Science), Tim Conley (English) and Karen Fricker (Dramatic Arts), and DART students McCormick, Kristina Ojaperv (Assistant Director), Mae Smith and Catherine Tait.

    Marilyn I. Walker School of Fine and Performing Arts Director Elizabeth Vlossak will moderate the discussion.

    “The roundtable provides a unique opportunity to foster discussion and the sharing of ideas and debate between people who may not interact academically otherwise,” she said. “Hosting the event on the main campus with a variety of different panelists also brings the work taking place at the MIWSFPA into the community, showcasing the connections that visual arts, music and theatre can have to our everyday lives.”

    The roundtable discussion is free and open to the public.

    No registration is required but seating is limited and first-come, first-served. Light refreshments will be served, and attendees will be eligible to enter into a draw for free King Ubu tickets.

    King Ubu runs at the Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts from March 1 to 9. For more information, visit the Department of Dramatic Arts website. Tickets are available through the FirstOntario Performing Arts Centre box office at 905-688-0722 or on the PAC website.

    Tags: , , , , , , , , , , , , , , ,
    Categories: Current Students, Events, News, Performance Season, Plays

  • King Ubu coming to Marilyn I. Walker Theatre

    Wednesday, February 13, 2019 | By

    Cast and crew members of the upcoming mainstage production King Ubu have been busy preparing for opening night on Friday, March 1. Tickets are on sale now for the production, presented by Brock University’s Department of Dramatic Arts.

    (From The Brock News, February 13, 2019 | By: Sarah Ackles)

    Alfred Jarry’s controversial classic King Ubu will bring audiences face-to-face with the absurdity of modern life when the production comes to Brock University’s Marilyn I. Walker Theatre starting Friday, March 1.

    Presented by Brock’s Department of Dramatic Arts (DART), the show is an avant-garde and hilarious commentary on human folly and the dangers of unchecked political ambition.

    Director and Associate Professor David Fancy said Ubu’s references to populism and the blurred lines between celebrity culture and politics are fitting themes for our current climate. Although first performed in 19th century France, King Ubu, he added, offers “an invitation to look critically at, but not disengage with, the current moment in time.”

    The play centres on Ma and Pa Ubu’s bloodthirsty quest to become the new king and queen of a fictionalized version of Poland.

    Between their continuous bickering, Pa, an egotistical and inept tyrant who wields an enormous toilet brush while speaking nonsense, and Ma, his enabling and devious wife, scheme to take over the world through a series of antics that play out like a reality show gone wrong.

    To emphasize the theatrical nature of Ma and Pa Ubu’s political exploits, the show features puppets, karaoke numbers and a giant puppet head that eats half the cast.

    Although the production stays true to the absurdist spirit of Jarry’s original work, Fancy said there is also a layer of introspection that exists beneath all the silliness.

    “On one side we’re being playful, irreverent and sarcastic like Jarry, but on the other side there are also lots of heartfelt moments,” he said. “We can use laughter on some level to celebrate, criticize and escape, but we will also be forced to confront the fact that these are real people having difficult experiences. We question what caused them to become such trainwrecks — and whether we need to have compassion for these people who are perhaps not so different from us.”

    The show’s gender-bending lead role selection also provides a unique twist.

    “Ubu admonishes supremacy logic in all of its forms and casting a woman as Ubu helps heighten the critique of patriarchy. At the same time, this casting points out that anyone, given the right context, can engage in human folly,” Fancy said of the distribution of roles across genders. “Everybody can behave like a dangerous fool.”

    All these aspects of the production, combined with intense and moving performances, make for an entertaining experience, he added.

    “I think a big part of it is tapping into the creative possibility of what theatre can be as an art form,” Fancy said. “The experience gives our cast and crew the creative confidence to respond to the world around them, like Jarry did, using their own, creative voices.”

    King Ubu is translated by David Edney and directed by David Fancy, with costume design by Jo Pacinda and scenography and scenography by James McCoy.

    The production showcases the talents of students in the DART undergraduate program, including Ash McEachern, Avery Delaney, Chris Murillo, Emma McCormick, Jackson Wagner, Jasmine Case, Juan-Carlos Figueroa, Lauren Reid, Leah Eichler, Rachel Frederick, Samuel Donovan, Taylor Bogaert and Tsipporah Shendroff.

    Brock students, staff and faculty members of the creative and production team include Kristina Ojaperv (Assistant Director), Jordine De Guzman (Stage Manager), Alicia Bender (Assistant Stage Manager), Meryl Ochoa (Assistant Lighting Designer), Trevor Copp (Choreographer), Holly Kurelek (Wardrobe Supervisor), Diego Blanco and Molly Lacey (Dressers), Brian Cumberland (Production Manager), Gavin Fearon (Technical Director), Ed Harris (Shop Supervisor), Dawn Crysler (Theatre Technician), Danielle Wilson (Shakespeare Coach) and Roberta Doylend (Head of Wardrobe).

    King Ubu runs from Friday, March 1 to Saturday, March 9 at the Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines. Showtimes are March 1, 2 and 9 at 7:30 p.m., March 3 at 2 p.m. and March 8 at 11:30 a.m. and 7:30 p.m.

    Tickets for the show are $18 for adults and $15 for students and seniors. A group rate is also available. Tickets are available through the FirstOntario Performing Arts Centre box office at 905-688-0722 or on the PAC website.

    Tags: , , , , ,
    Categories: Current Students, Events, Media Releases, News, Performance Season

  • King Ubu tickets on sale now!

    Thursday, January 24, 2019 | By

    Tickets for our spring mainstage presentation of King Ubu, presented by the Department of Dramatic Arts, are on sale now!

    The show runs from March 1 to 9 at the Marilyn I. Walker Theatre.

    Buy tickets

    King Ubu

    Written by Alfred Jarry
    Translated by David Edney
    Directed by David Fancy
    Set and lighting by James McCoy
    Costumes by Jo Pacinda

    Alfred Jarry wrote King Ubu in the 1890’s in large part to poke fun at the idiocy, capriciousness and vanity of political and personal power. it is almost like its author could see into the future and predict the very political climate we are living in today.

    The character of King Ubu is a complete fool who talks about poop, loves himself a lot and kills everybody around him whenever he feels like it. He is a patriarch, a racist and a megalomaniac.

    His wife, Ma Ubu, is very much like Shakespeare’s Lady Macbeth and pushes King Ubu to increasing feats of violence and narcissism. When they are not bickering or having food-fights, Ma Ubu demands King Ubu kill off their adversaries and take over the world. They spend the show chasing their enemies all over a fairy-tale-like Poland before sailing off into a sunset.

    In short: the Ubus are the ultimate reality TV show gone wrong.

    Read more about the performance.

    PERFORMANCES:
    Friday, March 1, 2019 @ 7:30 PM
    Saturday, March 2, 2019 @ 7:30 PM
    Sunday, March 3, 2019 @ 2:00 PM
    Friday, March 8, 2019 @ 11:30 AM
    Friday, March 8, 2019 @ 7:30 PM
    Saturday, March 9, 2019 @ 7:30 PM

    Tickets:
    $18 Adult
    $15 Student/Senior
    $12 Group (10+) each
    $5 EYEGO Highschool Student (with Valid ID upon ticket Pick-Up)

    General Admission seating.

    Performance location:
    The Marilyn I. Walker Theatre
    Marilyn I. Walker School of Fine & Performing Arts – downtown campus – Brock University
    15 Artists’ Common, St. Catharines, ON

    Tickets for all performances are available online through the Box Office of the First Ontario Performing Arts Centre. by email at boxoffice@firstontariopac.ca, or in person in downtown St. Catharines at 250 St. Paul Street, St. Catharines, ON, L2R 3M2.

    Open Monday to Friday, 10 a.m. to 6 p.m., and Saturday, 10 a.m. to 2 p.m. (Holiday and summer hours may vary).

    Buy tickets

    Tags: , , , , , , , ,
    Categories: Announcements, Current Students, Events, Faculty & Instructors, News, Performance Season, Plays

  • Public roundtable to explore Antigone’s relevance to modern society

    Thursday, October 25, 2018 | By

    Catherine Tait and Alexandra Chubaty Boychuk are seen on stage for the production of Antigone.

    Students in Brock’s Department of Dramatic Arts have been working for months to bring the classic Greek tragedy Antigone to the mainstage this weekend. The production will have a six-show run at the Marilyn I. Walker Theatre in downtown St. Catharines, opening on Friday, Oct. 26. Seen during last week’s media call are actors Catherine Tait (Antigone), left, and Alexandra Chubaty Boychuk (Ismene).

    (From The Brock News, Thursday Oct. 25, 2018 | By Jaquelyn Bezaire)

    Gender inequality, corruption and the conflict between personal beliefs and the laws of society are all at the centre of Brock’s new mainstage production, Antigone.

    And although the classic Greek tragedy is more than 2,500 years old, a roundtable discussion will be held at the University next week to discuss its relevance to today.

    Elizabeth Vlossak, History Professor and Director of the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA), hopes to delve into the reasons why Antigone is one of the most read, performed and adapted plays in all of dramatic literature.

    On Wednesday, Oct. 31, she will moderate the roundtable that will include a panel of professors from Brock’s departments of Classics, Political Science, Philosophy and Dramatic Arts.

    Faculty, staff, students and the community are invited to join the panellists in the conversation, which begins at 3 p.m. in the Scotiabank Atrium of the Cairns Family Health and Bioscience Research Complex.

    The informative and lively discussion will highlight the importance of Antigone and the connections that can be made across academic disciplines.

    The panellists will explain why Antigone is not only studied in courses about Ancient Greece but is also used to explore political theory, gender dynamics and various religious and moral problems.

    Panellists include professors Roberto Nickel (Classics), Adam Rappold (Classics), Athena Colman (Philosophy), Stefan Dolgert (Political Science) and Mike Griffin (Dramatic Arts).

    Vlossak organized the event in part to promote the upcoming production of Antigone, which opens Friday, Oct 26. The play is presented by Brock’s Department of Dramatic Arts.

    “One of my goals as Director of the MIWSFPA has been to increase student, faculty and public awareness, interest and participation in our programming at the school,” said Vlossak. “But this interdisciplinary panel discussion is also about bridging the two campuses. It’s bringing faculty from different departments together to share their expertise with students and the public, and it’s showcasing how the fine and performing arts can be incorporated into all of our teaching, learning and research, as well as our everyday lives, in meaningful ways.”

    The roundtable will begin by exploring the world of Sophocles and Antigone’s significance in ancient drama and performance.

    Other topics of discussion include the legacy of Antigone in the fields of politics and philosophy, the continued pedagogical value of studying Antigone, and the play’s relevance in the current political climate.

    “Antigone still inspires political rebels today, who find in her obstinate resistance a role model for action in the present,” said Dolgert. “Antigone is for those who refuse to accept the tired cliché that politics is ‘the art of the possible,’ as it is her seemingly irrational affirmation of the impossible that ultimately prevails.”

    Griffin, a Dramatic Arts lecturer and the production’s Director, will join the panel and explain why he chose the play for Brock’s mainstage performance.

    He hopes to “paint Antigone as a strong woman,” and aims to show how themes of the #MeToo movement are reflected throughout the production.

    Antigone runs Oct. 26 and 27 at 7:30 p.m., Oct. 28 at 2 p.m. and Nov. 2 and 3 at 7:30 p.m. There will also be a high school matinee on Nov. 2 at 11:30 a.m.

    The production will be held in MIWSFPA’s Marilyn I. Walker Theatre in downtown St. Catharines. Tickets are available through the FirstOntario Performing Arts Centre box office at 905-688-0722 or on the PAC website.

    Tags: , , , , , , , , , ,
    Categories: Current Students, Events, Faculty & Instructors, News, Performance Season, Plays

  • Brock students on Broadway

    Monday, April 30, 2018 | By

    Mirror Theatre performs on Broadway

    Cast members from the student-run Mirror Theatre had the unique opportunity to perform in the heart of the New York City theatre district recently.

    On Wednesday, April 25, the cast members performed vignettes from their applied theatre work at the Marriott Marquis hotel.

    Mirror Theatre is a comprised primarily of Brock Dramatic Arts students that produce and perform interactive scenes on a variety of social issues. The group is coached by Dramatic Arts Chair and Professor of Drama in Education and Applied Theatre Joe Norris. It gives students the opportunity to apply the knowledge they learn in their courses in real-world situations. Through experiential education, the students develop life and learning skills that will prepare them for their careers and future studies.

    Mirror Theatre was invited to attend the Arts Based Educational Research (ABER) business meeting in New York City by the ABER Special Interest Group of the American Educational Research Association. At the conference, they presented “Employing Playbuilding Research and Pedagogy in Addressing Educational and Social Issues Facing Youth.” Their scenes addressed issues of academic integrity, seeking help, dealing with gossip, refusing unsafe working conditions, parental pressures and healthy eating.

    Regent cheque for Mirror Theatre

    Regent cheque presented to Mirror Theatre for $500.

    The trip was partially funded by the Regent Student Livings’ Dramatic Arts Student Independent and Outreach Projects fund. Recently, Mitch Allanson (BA ’16) presented Abby Rollo, Mirror Theatre’s President and Lindsey Abrams, Treasurer a cheque for $500. This award will be available to DART students each year and is part of Regent Student Livings investment in the success of the students at the Marilyn I. Walker School of Fine and Performing Arts.

    Cast members of Mirror Theatre include, Lindsey Abrams, Dani Shae Barkley, Kaedyn Brouse, Candice De Freitas Braz, Aaron Drake, Nadia Ganesh, Rosa Moreno, Mike Metz, Abby Rollo, Sumer Seth, Dawson Strangway and Director Joe Norris.

    Tags: , , , , , , , , , , , , ,
    Categories: Current Students, Faculty & Instructors, News, Performance Season

1 2 3 4