Alumni

  • Dramatic Arts rewrites script for online learning with Shaw Festival

    Pictured above: Shaw Festival Theatre actors Jonathan Tan, left, and Olivia Sinclair-Brisbane coached Brock students online in DART 1F01: Acting for Non-Majors. (Photos by David Cooper)

    Originally published FRIDAY, OCTOBER 23, 2020 | by 

    Brock Dramatic Arts students got a virtual backstage pass to the revered Shaw Festival Theatre this summer.

    An innovative teaching initiative gave students taking DART 1F01: Acting for Non-Majors the opportunity to connect online with and receive personalized coaching from professional actors Jonathan Tan and Olivia Sinclair-Brisbane from the Shaw Festival Theatre permanent company.

    For third-year student Jordan Henderson, the virtual experience was both valuable and uplifting.

    “Jonathan Tan had many wise words that really helped me build confidence in my acting skills,” he said. “He also helped me to understand that what I might consider a mistake, audiences may interpret as something completely different.”

    David Fancy, Professor and Chair in the Department of Dramatic Arts at Brock’s Marilyn I. Walker School of Fine and Performing Arts, developed the course’s online teaching material with the future in mind and produced 700 minutes of lessons over 70 separate videos.

    This foundational acting course, which Fancy describes as “extreme monologuing,” is designed to help students discover the underlying principles of acting. Students explore the actor’s process, including awareness, stimulus, impulse, intention and action.

    “We’re making some exciting changes to DART 1F01,” Fancy said. “We’re using this opportunity to build a course that we can also share with students who have to work remotely in the future.”

    In the virtual coaching sessions, students rehearsed monologues they’d written themselves with the Shaw actors, soaking in their expertise and knowledge.

    Second-year student Benoit St-Aubin gained unique perspective on the acting world, and it left him craving more.

    “I absolutely loved the session that I had with Olivia. We had the opportunity to run through our monologues with her and she gave us great tips to improve them,” he said. “I didn’t realize how much I missed being in class, but this meeting really made me want to go back in September.”

    Fourth-year student Alexandra Hunter was able to immerse herself in the story of her monologue, giving her a deeper connection and understanding of her character and the creative process.

    “I learned so much from Olivia,” Hunter said. “She helped me illustrate the emotions in a strong way so that I knew how to perform them and react accordingly.”

    This opportunity to leverage technology and connect students to professional actors was co-ordinated by Fancy and Dramatic Arts instructor Carolyn Mackenzie in partnership with the Shaw Festival. They worked alongside Shaw’s Senior Manager for Education Suzanne Merriam, Education Assistant Melissa Domingos and Education Co-ordinator Megan Gilchrist.

    This course is just one of the ways Brock’s Department of Dramatic Arts is using innovative thinking and a creative approach to lead the charge on the future of performing arts. This fall, audiences can expect riveting new work, pushing the boundaries of live theatre with the Dramatic Arts mainstage production Scenes from an Execution by Howard Barker.

    More details on the Department of Dramatic Arts and the fall mainstage virtual production are available online.

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    Categories: Alumni, Announcements, Current Students, Events, Faculty & Instructors, Future students, In the Media, Media Releases, News, Performance Season, Plays, Uncategorised

  • Dramatic Arts students build connections through Buddy System

    Originally published in The Brock News: THURSDAY, OCTOBER 29, 2020 | by 

    Pictured above: Student representatives for Brock University’s Department of Dramatic Arts Luca D’Amico (left) and Diego Blanco (right) connect virtually to discuss their new mentorship program, the DART Buddy System.

    Although they’re not physically on campus this term, Diego Blanco and Luca D’Amico want to ensure Brock’s familiar sense of community is not lost amongst Dramatic Arts (DART) students.

    To that end, the two student representatives created the DART Buddy System, a new mentorship program that was launched at the start of the Fall Term.

    The initiative pairs first- and second-year students with mentors who are in their upper years of study. Mentors provide guidance and answer questions throughout the school year, while also offering moral support and words of wisdom gained through their own experiences in the Department of Dramatic Arts.

    Currently, there are 14 mentors and 42 mentees participating in the program.

    This system provides a helpful structure for new students, quickly connecting them to the strong sense of community that is foundational to DART at the Marilyn I. Walker School of Fine and Performing Arts.

    Despite the challenging circumstances created by the COVID-19 pandemic, maintaining that community feel and sense of belonging was a driving force behind the project, says Blanco. “We want to make this year easier and enjoyable for every student in DART,” he says.

    “During these crazy times, connection with each other is so crucial — and that’s why the Buddy System is important,” adds D’Amico. “It provides students with as much support as possible, building the family that Dramatic Arts is known for.”

    Blanco and D’Amico also lead the planning of weekly and monthly activities that allow all Buddy System participants to get to know each other better.

    Due to public health restrictions, the landscape has drastically changed for new students, meaning those initial connections are harder to make, Blanco says.

    “The reason I love the DART program is because of the relationships that happen outside the classroom, in the common rooms, in the computer commons or even just waiting for the bus,” he says. The Buddy System helps to encourage those connections in a virtual format until in-person activities can resume on campus. Blanco and D’Amico, under advisement from DART faculty and staff, are committed to providing safe opportunities for students to enjoy.

    In addition to the DART Buddy System, Blanco and D’Amico assist the department with orientation sessions and facilitate communication between students and faculty. This year, they have also created the Black, Indigenous and People of Colour (BIPOC) Student Council, which promotes open conversation among students and faculty specific to the concerns of the BIPOC student population.

    Please click here to fill out the DART Buddy System form.

    More information on Dramatic Arts at Brock is available on the department’s website.

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    Categories: Alumni, Announcements, Current Students, Events, Faculty & Instructors, Future students, In the Media, Media Releases, News, Shaw Intern Blog, Uncategorised, Visiting Artists

  • Dramatic Arts graduate’s web series selected for digital innovation grant

    Image:Department of Dramatic Arts (DART) graduate Marley Kajan (BA ’14) and Connor Ferris, co-creators of new web series Like Comment Subscribe.

    (Originally FRIDAY, SEPTEMBER 25, 2020 | by 

    Marley Kajan (BA ’14), who majored in Dramatic Arts during her time at Brock University’s Marilyn I. Walker School of Fine and Performing Arts, has good reason to celebrate.

    Last week, it was announced that the web series she co-created, Like Comment Subscribe, has been selected for the Canada Council for the Arts and CBC Digital Originals initiative. Kajan noted she and her co-creator, Connor Ferris, are honoured to be recipients of the grant and are excited to kick-off production of their pilot.

    Like Comment Subscribe follows millennial influencers and BFF’s Meaghan and Avery, who seem to have it all: fortune, fame and followers,” said Kajan. “But when COVID-19 sends their lives into lockdown, the impact begins to reveal the people behind the profiles.”

    In addition to co-creating and co-writing the web series, Kajan, alongside Ferris, will play the two leading roles. In partnership with the CBC, the series will be produced by Hamilton and Toronto-based production company Dei Gratia Pictures.

    Kajan, a bright talent in the Canadian dramatic arts scene, originally hails from Welland. Graduating with a concentration in Performance, she achieved First Class Standing. She was recently invited by the Department of Dramatic Arts to virtually perform for this year’s orientation, inspiring the next generation of students for what promises to be a historic year ahead for the arts.

    “The CBC’s Digital Originals initiative funded by the Canada Council aims to assist artists as they pivot their work, or create new original work, for online distribution as a result of the COVID-19 pandemic,” writes the Canada Council for the Arts. “While many artists are discovering new performance platforms, the creative team behind Like Comment Subscribe will certainly help forge the path to bring compelling stories to audiences across Canada, and beyond.”

    This story was written by Gillian Minaker.

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    Categories: Alumni, Announcements, Events, Future students, In the Media, News, Plays, Uncategorised

  • Our commitment to you

    Beginning in June, in part prompted by feedback from students and alumni, as well as in observation of momentum of Black Lives Matter, DART faculty and staff began meeting regularly with Brock’s Office of Human Rights and Equity (HRE).

    With the support of HRE staff, our goal is to examine and identify the department’s contributions to white supremacy and all oppressive structures and practices, whether inside or out of the classroom, in the curriculum, in our productions, in our community engagement, and in our relationships with other offices we collaborate with or who represent us.

    Read about the Department’s commitment to you.

    See also: scholarstrikecanada.ca

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    Categories: Alumni, Announcements, Current Students, Faculty & Instructors, Future students, In the Media, News, Uncategorised

  • Brock project aims to improve long-term care for veterans and brain injury patients

    Brock University alumni now with Mirror Theatre perform a scene in Understanding person-centred care: Finding dignity within the shadows, a video series as part of a research project between Brock and Sunnybrook Health Sciences Centre.

    (From: The Brock News, THURSDAY, OCTOBER 3, 2019 | by Dan Dakin)

    Two Brock University faculty members from seemingly unrelated disciplines have collaborated on a project aimed at improving the relations of those involved in long-term care.

    Associate Professor of Recreation and Leisure Studies Colleen Whyte, and Professor of Dramatic Arts Joe Norris, were at Sunnybrook Health Sciences Centre in Toronto Wednesday, Oct. 2 for the premiere of Understanding person-centred care: Finding dignity within the shadows.

    Two years ago, Sunnybrook Professional Practice and Education Leader Leanne Hughes came to Whyte with a research idea about how to help staff and family deal with the challenges associated with two specific groups in long-term care: veterans living with dementia and patients recovering from traumatic brain injuries.

    “I’ve known Leanne for 15 years and we’ve done research together in the past,” Whyte said. “She came to me and said: This is an issue we have. How do you think we could look at researching it?’”

    “What we’re looking at are person-centred approaches,” said Hughes, referring to a growing emphasis in health care that invites patients and family members to be involved in decision-making and strategizing ways to care for individual patients from a wide-range of services. It’s a more collaborative care model than a traditional top-down medical approach to care.

    In the fall of 2018, Whyte led research that included focus groups of those working in long-term care at the Toronto hospital such as doctors and hospital staff, as well as families of those in care.

    Brock University professors Joe Norris and Colleen Whyte hand a USB drive to Leanne Hughes from Sunnybrook Health Sciences Centre. Brock and Sunnybook partnered on a research project that included a 20-part video around patient-centred care. Pictured from left are Brock alumni Nadia Ganesh, Candice De Freitas Braz and Mike Metz, Hughes, Norris, Brock master’s student Kevin Hobbs, Whyte and Brock alumni Bernadette Kahnert.

    “We interviewed people who are doing this every day,” Whyte said. “This research is about taking the principles of person-centred care and trying to see how they are translated on a daily basis, when all partners experience unexpected challenges.”

    With the focus group data in hand, Whyte then turned to Norris, Chair of Brock’s Department of Dramatic Arts, who worked with the student-run Mirror Theatre to translate the conversations into dramatic action, known as ethnodrama and applied theatre.

    “We took the focus group transcripts, read them, analyzed them and created dramatic scenes,” said Norris. “The purpose is to evoke conversations.”

    The result is a 20-part video series, each dealing with a different component of the long-term care experience. They range from something as simple the challenge of what to pack when a family member is moved into a new living situation to what to do when a patient whose mind no longer has much of a filter says something that crosses a line.

    “It’s all about answering the question of ‘How do we treat each other with respect in stressful situations?’” Norris said.

    He said the Dramatic Arts students who were acting the parts in the videos — including the patients who are represented as shadowed silhouettes rather than specific people — learned about more than just acting.

    “Many cast members say they don’t only get extra-curricular experience with theatre, they get the experience of dealing with a range of topics. It’s like an extra class for them,” he said.

    With the video series now complete, the next stage of the project is to create workshops for staff and families.

    “It gives staff some insight and helps them think, ‘If I’m in this situation, let me strategize and be thoughtful about what options I have,’” she said. “It will equip new staff with possibilities and allow existing staff to be reflective about their approaches.”

    Brock University alumni Nadia Ganesh, Bernadette Kahnert, Lindsay Detta and Candice De Freitas Braz interpret a scene from Finding dignity within the shadows at Sunnybrook Health Sciences Centre in Toronto Wednesday, Oct. 2.

    Hughes said when the final videos were shown to those working with veterans suffering from dementia and patients dealing with brain injuries, the staff were impressed with how accurate they were in reflecting the situations they deal with.

    “It has been an absolute pleasure to see students take this data and enact it,” Hughes said. “We were in awe of their ability. They did a fantastic job.”

    The project, which was funded by a Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant and a Practice-Based Research and Innovation Seed Grant from Sunnybrook, will continue with the development of facilitator tools and training sessions. Those will be developed and led by Norris and Kevin Hobbs, a master’s student in Social Justice and Equity Studies, who directed the Finding dignity within the shadows series and incorporated the research into his master’s thesis.

    “They’re training videos, but not in the sense of, ‘Here’s how you give a needle,” said Norris. “It’s more of a dialogic conversation where our audiences are invited to comment on the scenes and add their own insights and stories.”

    Watch the full Understanding Person-Centred Care video below and individual scene videos can be found at this link

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    Categories: Alumni, Announcements, Faculty & Instructors, In the Media, Media Releases, News

  • First students to complete entire four-year degree at downtown MIWSFPA graduate June 14

    Brock’s Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines.


    The first group of students to have completed their entire four-year degree at the Marilyn I. Walker School of Fine and Performing Arts’ downtown St. Catharines facility crossed the stage at Spring Convocation on Friday, June 14.

    Sixty-three students from Brock’s Departments of Music, Visual Arts and Dramatic Arts graduated from the downtown arts school, which opened its doors in 2015. Nine students who minored in programs at the MIWSFPA will also graduate on Friday.

    The milestone is not lost on the 2019 graduating class.

    “It’s a cool honour to be part of Brock history and I’m grateful to have trained in such a professional environment,” said Emma McCormick, who completed a Bachelor of Arts in Dramatic Arts, Performance Concentration. “I feel that I’ve gained a lot of skills that will serve me in my career, specific to the learning I received at the MIWSFPA.”

    The London, Ont. native is the recipient of the Jean Harding Prize, which is awarded to the student who achieves the highest standing in fourth-year Dramatic Arts. She plans to remain in St. Catharines after graduation, where she will continue her studies in Brock’s Adult Education program and working in the performing arts sector.

    Providing students like McCormick with a purpose-built, state-of-the-art facility was the vision of the School’s namesake, the late Marilyn I. Walker.

    When the famed textile artist and philanthropist donated $15 million to Brock University in 2008, she envisioned the creation of an arts facility that would revitalize downtown St. Catharines and encourage students to study and practice the arts here in the Niagara region.

    Her generosity and foresight allowed for the historic Canada Hair Cloth Building to be converted into the new home for the Departments of Music, Dramatic Arts and Visual Arts, and the Centre for Studies in Arts and Culture, which had previously been housed at Brock’s main campus.

    The $45.5-million project also received a $26.2-million investment from the Ontario government, numerous private and corporate donors, and relied heavily on the insight and contributions of hundreds of partners such as then-Dean of Humanities, Rosemary Hale, and the City of St. Catharines.

    MIWSFPA Director Elizabeth Vlossak, who joined the School on an interim basis from the Department of History, said she has seen first-hand the impact the facility and its programming has on students.

    “Although the School is a cultural hub that acts as a living, breathing connection between the city’s past and future, it’s also so much more than that,” she said. “In my short time here, I have seen how these incredible facilities and engaged, passionate faculty benefit our students.”

    Graduand Alyssa Shanghavi, of St. Catharines, said she appreciated the availability of unique practice spaces on campus for music students like herself, which allowed her to focus on her studies and hone her skills on the trombone.

    The Bachelor of Music recipient said being around other artists all the time and in such close proximity to the downtown core was an invaluable complement to her education.

    Gianna Luisa Aceto, a graduand from Mississauga, said that as a painter, she “enjoyed and most definitely appreciated the space the MIWSFPA provided.”

    As well as making new friendships and plenty of memories, Aceto attributes the successful completion of her Bachelor of Arts Degree in Studio Art to the artistic identify she forged while studying at the School.

    “One of the biggest takeaways for me is finding my passion, my niche,” she said.
    “I struggled a lot in finding out what I wanted to create and the reasons for creating it. My time spent within the walls of the MIWSFPA allowed me to uncover that knowledge.”

    She also said she has an undeniable gratitude for her professors, and that “the drive they instilled in me has not gone unnoticed.”

    Faculty of Humanities Dean Carol Merriam said this milestone serves as time to reflect on the importance of the arts and its ability to create healthy and flourishing communities.

    “This first class of students to have spent their entire Brock careers in this splendid facility serve this mission in downtown St. Catharines and in the broader community, but they have also been a defining force within the MIWSFPA itself,” she said. “They have been largely responsible for creating the culture of the School as a place to learn, create and serve as a community. Their impact will last a very long time, and we are proud to see their graduation day.”

    Longstanding former MIWSFPA Director Derek Knight echoed Merriam’s sentiments.

    The Associate Professor said the class of 2019 should receive their degrees with pride having been part of an extraordinary university experience and contributing to the legacy of the arts, both at Brock and in the community.

    With the MIWSFPA’s fifth anniversary on the horizon, the School will continue to offer students unique teaching and learning experiences while honouring the spirit of its benefactor, he said.

    “What was interesting about Marilyn is that she was always very curious and engaged with how we, the faculty, envisioned the future,” Knight said. “She thought it was our job to rise to the challenge and define the potential of what she had given to us in the form of this extraordinary gift. I think, in many ways, we’ve done that.

    “Now, we are charged to think about not only what we will offer today, but in the long-term, and how we will define pedagogy and the School’s identity long into the future.”

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    Categories: Alumni, News

  • DART Shaw Festival Internship 2019: WEEK 4 & 5 From First Reads to Tech

    Mae Smith is the Department of Dramatic Arts’ 2019 Shaw Intern.
    Read her weekly blogs about her work in lighting design and props building.
    Learn more about the internship


    (From: The DART Shaw Intern Blog, June 12, 2019 | By: Mae Smith)

    In the work light, between scenes, I read books I’ve borrowed from Kevin’s library in his office. Previously, I read about Jean Rosenthal and how she designed. Now, I’m reading more of a manual called The Assistant Lighting Designer’s Toolkit by Anne E. McMills. In there I find helpful tidbits and points to ask the technicians or designers about.

    As I said before, I love this The Ladykillers. The show itself is hilarious and so is the cast. During one of the on stage rehearsals, I’m laughing so hard that Judith Bowden asks if this was my first time seeing the show. I reply, “No, I just love it.”

    Outside of the Festival Theatre, I get the pleasure to sit in on the first rehearsals of Cyrano de Bergerac directed by Chris Abraham, and Man and Superman directed by Kimberley Rampersad. The first rehearsals are usually read throughs with the full cast and design presentations. Ahead of Cyrano, I meet with the stage manager Allen Teichman who graciously answers all my questions about his role and his duties at the start of the rehearsal process. The next day, I get to help out with some of those duties. I meet with Ashley Ireland, the assistant stage manager, and Allan to tape out the floor and set up tables for the read through.

    The Courthouse Theatre’s main rehearsal hall set for CYRANO DE BERGERAC’s (2019) first rehearsal.

    Cyrano‘s first read was really fun and I was in awe of the actors lifting the words of the page in almost complete stillness. I’m really excited to see it all set up in a couple months and think back to how it was when it started.

    The Man and Superman first read was equally entertaining although I left half-way through (the show is long). Again, though, the actors already bring so much to the table even after director Kimberley Rampersad asks them to not see the read through as a performance but rather as their first time meeting the text all together.

    I’m really grateful for the chance to see so many different shows at so many different stages. I’m able to learn about so many different roles and what would be expected of me if I was working with these shows which is a great thing to have before I am actually expected to do anything.

    At the end of my fifth week, I get to really enjoy myself as I attend the opening of Brigadoon. It’s been a little while since I last saw the show and I’m excited to enjoy it fully without listening to cues. It is so nice to hear such a large audience reacting with me to the show. It’s an energy I hadn’t yet experience with Brigadoon and it’s just nice to hear the show being so well received watching it quietly during tech.

    In my coming weeks, tech for The Ladykillers continues and I attend my first calls for Sex for which Bonnie Beecher is designing the lights. I’ve been watching others in the prop shop upholster the furniture for the show so I’m keen on seeing what the show really looks like.

    Keep checking back for a new post coming soon!

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    Categories: Alumni, News, Shaw Intern Blog, Uncategorised

  • DART Shaw Festival Internship 2019: WEEK 3, Look, Learn, and Listen

    Mae Smith is the Department of Dramatic Arts’ 2019 Shaw Intern.
    Read her weekly blogs about her work in lighting design and props building.
    Learn more about the internship


    (From: The DART Shaw Intern Blog, June 1, 2019 | By: Mae Smith)

    This week kicks off The Ladykillers big move into the theatre and my involvement with the show.

    On Monday, I follow the props gang to the design day, where we outfit the set with its dressings along with the designer (Judith Bowden). Throughout the day, we add and hem curtains; I tack down props on the shelves; we hang hooks for pots and pans; fit down knobs, lights switches, and outlets to the set; and much more. This week’s featured image is me waiting on the second floor of the set that was made in the Shaw’s Scene Shop.

    Pots in the kitchen for THE LADYKILLERS (2019) Directed by Tim Carroll Designed by Judith Bowden

    When we return to the prop shop for the rest of the week, I make more fake money as well as paper bouquets for Getting Married. The bouquets are simple enough to construct once we figure out the material out of which to construct it. The bouquets that I am making, in question, are to be tossed into the audience every night which means there is a lot more to consider with its construction. It can’t be too heavy, nor use any ribbons with sharp edges, or pipe cleaner with eye-poking ends but it needs to be easy and quick to reproduce because one will be made for every preview and show.

    Bouquets for GETTING MARRIED (2019) Directed by Tanja Jacobs Designed by Shannon Lea Doyle Constructed in the Prop Shop

    On Friday and Saturday, I return to the Festival Theatre for The Ladykillersfor the lighting hang. I meet with assistant lighting designer Nick Andison first while the crew is at work hanging. He runs through what lights they’re hanging and what tricky shots they’ve anticipated. There are many lights that are being repurposed to be Ladykillers specific lights from their previous show purpose since they did not end up getting used. I feel now that I’m starting to get a hang of the planning for the repertoire.
    Kevin Lamotte and Nick also help me understand a lot more the paper work and how to get started when designing.
    I’ve found over the years I’ve gotten quite shy so I’m appreciative for Kevin, Nick, and other members of the company I’ve spoken to who have been able to just talk to me about the work they do without me having to prompt them too much. I love listening to what others have to say and I’m still working past being too scared to jump in and ask questions.

    At the end of the week, I get to visit Victory‘s rehearsal room. This show is also directed by Tim Carroll and his rehearsals are very entertaining to be in. Victory is quite different from the other shows I’ve seen so far: it has quite a massive cast for what I would expect for a show that’s not a musical; and it’s quite vulgar. Despite the dark material, the cast is lively and joking which is enjoyable to watch as an outsider. Once again, I feel incredibly lucky to be here. I’m watching actors I’ve seen on stage over the years right in front of me in the middle of their process and they are just mesmerizing.

    The house of the Festival Theatre. (So many lights!)

    The Ladykillers rolls into more tech next week, so I’ll be spending most of my time in the Festival Theatre absorbing everything I can from the designers and crew.

    Stay tuned!

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    Categories: Alumni, News, Shaw Intern Blog

  • Dramatic Arts grad gets rave reviews in Soulpepper’s The Brothers Size

    Brock Dramatic Arts alumnus Marcel Stewart (BA ’07), centre, plays the role of Elegba in the Soulpepper production of The Brothers Size alongside Daren A. Herbert, left, and Mazin Elsadig. Photo by: Cylla von Tiedemann, courtesy of Soulpepper.


    The reviews are in, and Brock Dramatic Arts alumnus Marcel Stewart (BA ’07) is earning praise for his performance in what the Toronto Star calls a “stunning Canadian premiere.”

    Stewart stars as Elegba in The Brothers Size, the newest offering from Toronto-based production house Soulpepper.

    He describes the experience as a “whirlwind,” especially after Toronto-based rapper Drake made a surprise appearance at the May 10 opening night performance.

    Brock Dramatic Arts alumnus Marcel Stewart (BA ’07), second from right, and his castmates from The Brothers Size got a surprise visit from rapper Drake, third from right, at the opening night performance of the Toronto show.

    “It has been amazing; it’s such a gift to do something like this,” Stewart said. “Through my whole journey as an actor, I have wanted to work on a play that speaks to my experience, one that I can easily dive into, and this text was so comfortable it was like putting on a jacket that was made for me.”

    The Brothers Size is the second play in the Brothers/Sisters series, written by Oscar-winning screenwriter and Tony Award-nominated playwright Tarell Alvin McCraney.

    Set in a fictional town in Louisiana, it tells the story of two brothers, Ogun and Oshoosi, who find themselves living together after Oshoosi’s release from prison.

    Stewart plays Oshoosi’s best friend, who formed a bond with him during their incarceration together.

    “I think on a micro level, Brothers Size is about the experience of black men today in the world,” Stewart said. “But on the macro level, what the characters go through are things that all people experience: grief, trauma and searching for a sense of belonging.”

    Stewart’s performance marks his return to the Soulpepper stage, where he has previously performed three times and was a member of the Soulpepper Academy.

    Some of his other credits include the role of Miles in The Drawer Boy at Prince Edward County’s Festival Players, Coutts in the Mirvish Theatre Production of King Charles III in Toronto, and roles on popular Canadian television series’ Kim’s Convenience and Murdoch Mysteries.

    While he focused primarily on acting for several years after graduation, Stewart also developed a passion for doing outreach work and giving back to young, aspiring actors.

    Brock Dramatic Arts alumnus Marcel Stewart (BA ’07).

    When he’s not on stage, he gives private acting lessons and hosts workshops in communities across Canada. He’s worked with school groups at the Toronto International Film Festival, for example, and was the creator of What Noise is This, a workshop that explores William Shakespeare’s canon through the lens of hip-hop music.

    Stewart is also involved in the local theatre industry, both as the outreach co-ordinator with St. Catharines theatre company Suitcase in Point and the volunteer co-ordinator for the upcoming In The Soil Arts Festival, taking place this June in downtown St. Catharines.

    Brock Assistant Theatre Professor Danielle Wilson offered her congratulations on Stewart’s success.

    “Marcel was bright and hungry to learn and is an example of the breadth of career opportunities that become available after studying in DART,” she said. “We congratulate him on his success as a working artist and are very proud of the contributions he has made in the theatre community over the years.”

    Stewart attributes his ability to “wear many hats” in his career to the skills he gained from studying at Brock.

    “The ‘motor’ that I developed at Brock was probably my biggest takeaway that I still rely on 12 years later,” the 33-year-old said. “To keep going, to keep pursuing, and if a door is closed in my face, then there’s 10 more doors that I can open.”

    After the wrap of Brothers Size in Toronto, Stewart is headed back to work in St. Catharines.

    He wants to continue his outreach work and bring more eclectic and diverse artists to St. Catharines.

    He said instructors at Brock encouraged him to explore his sense of self and find cultural connections through the performing arts — and he wants to do the same for others.

    “My experience at Brock helped open me up to recognizing who I am as a black man and encouraged me use that voice and speak from my perspective whenever I can,” he said. “Now I’m on this representation kick, running workshops, doing outreach and looking at how to bring some more colour — in more ways than one — to the artistic landscape.”

    Brothers Size runs until Saturday, June 1 at the Young Centre for the Performing Arts at 50 Tank House Lane in Toronto. More information and tickets are available at Soulpepper.ca

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    Categories: Alumni, Faculty & Instructors, News

  • DART Shaw Festival Internship 2019: WEEK 2, Stumbling but Still Going

    Mae Smith is the Department of Dramatic Arts’ 2019 Shaw Intern.
    Read her weekly blogs about her work in lighting design and props building.
    Learn more about the internship


    (From: The DART Shaw Intern Blog, May 9, 2019 | By: Mae Smith)

    This week, I’m in the prop shop almost every day for at least a couple hours. I’m back to pumping out high volume items which is satisfying once you start filling up boxes and boxes. No one in the shop passes up an opportunity to make a joke about taking all the fake money and running away.

    On Tuesday, my lack of skill in sewing becomes painfully obvious as I’m tasked with hemming napkins for Getting Married. I can’t keep the hem even or straight – it’s just a mess. I’m quite embarrassed to say the least as I’ve thrown a bit of a wrench in the productivity. Later, I confide in Kimberley Rampersad, Intern Artistic Director at the Shaw, about how I feel and she’s able to help me see it as not a wholly negative thing. See, my experience working with props previously has been mostly painting, hot gluing, and carving styrofoam. I hadn’t considered sewing at all part of that because I hadn’t been exposed to it in this context. Now, at least I know it’s something that I need to work on for props building and not something I can just forever put to the side. In the mean time, I’ll return to making stacks of fake money.

    When I’m not in the prop shop, I’m all around the main building.

    I pop into the design studio a couple times to go through the lighting design bibles from previous seasons. Scanning through the paper work is a little overwhelming at first. I have a very basic familiarity with Vectorworks and Lightwright so there’s a lot of documents that I’ve never seen or heard of. It takes me a good 15 minutes of staring at the paper to figure out what’s going on in the focus charts because there are so many lines overlapping. Luckily, Mikael Kangas is around to answer my questions and explain how the paperwork useful in the grand scheme and in specific situations.

    String lights under the risers in the Jackie Maxwell Studio Theatre. This is partly used for storage for the shows.

    I have my first visit to the Jackie Maxwell Studio Theatre of my internship to observe the SPASM for The Glass Menagerie. SPASM stands for “Set & Props with Assistant Stage Manager.” This is where the crew of the theatre meet with the assistant stage manager to see where all set pieces, props, and dressing need to go on the set. Stage manager Kate Hennigar shares a copy of the paperwork detailing where everything is set with me so that I can follow along with Joe and Jeff (the change-over crew for the studio theatre). I help them move furniture from the rehearsal hall, upstairs to the theatre and unload it on stage.

    As we work, everyone shares a bit of their insight with me and happily explains the process. I’m glad to be engaged and helpful in the process but I’m careful to step back to make sure I’m not doing the work Joe and Jeff need to do so that they know their tracks for setting the show.

    The ghost light in the Jackie Maxwell Studio Theatre.

    I also attend the tech rehearsal and invited dress rehearsals for Brigadoon. I find that every time I see the show, I love it more and more. The show is so much about love, as director Glynis Leyshon makes clear in her introduction before the dress rehearsal begins, and I’m head over heels for every romance in the show. I smile ear to ear watching the characters fall in love each time.

    To my eye, the show’s lighting looks perfect; however, Kevin Lamotte and Mikael Kangas are continuously working and making changes to cues. I listen in over the com to hear what they’re changing. This helps me learn what to pay attention to when I’m designing. It’s also encouraging to know that not everything is figured out with the plot and focus. There’s always things changing and you’ll always be adapting.

    Later, I move further into the Historical Old Town of N.O.T.L.

    I get to visit the Courthouse theatre for a The Ladykillers rehearsal again, which is just such a joy. The show is so funny and both the cast and creative team present in rehearsal bring such a great energy that you can’t help but enjoy.

    On my last day of the week, I spend my time in the Royal George Theatre, attending the tech dress for Getting Married and then a preview of Rope.
    I personally love the George as it is a much smaller space than the Festival Theatre but maintains such a grand elegance about it. The house of the theatre is a luxurious red which is rich but comforting at the same time.

    Seats in the Royal George Theatre.

    When I arrive at the theatre in the morning, the lighting operator, Mel, takes me on a full backstage tour of the theatre while completing pre-show duties at the same time. Mel is quite in depth with their explanations and I’m grateful for all the details. The assistant lighting designer, Nick Andison, tells me about how the lighting grid is planned and divided between shows in theatre. It helps answer that part of me that’s constantly looking at the shows and asking “But how do you start?!”

    Nick explains some of the design to me. The intent and focus of the lighting design is quite different for Getting Married than it is for the huge musical that is Brigadoon. It’s interesting to note the difference and speak to Nick about what to look for and what they’re trying to do.

    When I get to Rope in the evening I’m a little taken aback at the change-over of the set. It’s incredible how much the space transforms. I was really captivated by the set design, which featured scrim walls and a window with an incredible rain effect. I’m not here to review the show, but if I was, I don’t think I’d have a bad thing to say. I’m going to end on that note. This week made me very excited about how I get to work in theatre and reminded me that there’s so much about it to love.

    The view from my seat for ROPE (2019). Directed by Jani Lauzon. Designed by Joanna Yu. Lighting Designed by Louise Guinard.

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    Categories: Alumni, News, Shaw Intern Blog