Alumni

  • DART alumnus takes the stage in Toronto

    Wednesday, April 19, 2017 | By

    DART Alumnus Jeremy Ferdman performs in the Classic Theatre Project‘s latest production of Macbeth. From the CTP website:

    Set against the backdrop of violent tribal conflicts, this re-imagined, gritty production of Macbeth features epic sword fights and modern stage technology. As hero becomes tyrant, Shakespeare’s masterful commentary on the corrupting nature of power poses the timeless and dangerous question:

    ‘Is he who desires ultimate power capable of being a just leader?’

    Photo courtesy of thectp.ca

    Jeremy Ferdman
    (Macduff, Bleeding Saergent)

    Jeremy Ferdman is an award-winning actor from Toronto. Beginning his career ‘belly dancing’ in a National Rogers commercial at 15, Jeremy trained at the Stella Adler Studio of Acting (NYC), Art of Acting Studio (LA), University of North Carolina and Brock University. He played the role of Marty Glickman in Focus Features’ Race, opposite Jason Sudeikis and Jeremy Irons, and recently wrapped the Dylan Thomas biopic, Dominion, with John Malkovich and Tony Hale, which Jeremy is Executive Producing with Film Colony (Hateful 8/Cider House Rules). Theatre credits include A Midsummer Night’s Dream (Georgia Shakespeare), Bad Jews (Theatre Calgary), Metamorphoses (Georgia Shakespeare), Soon (Young Storytellers Foundation), Waiting for Lefty (Off-Broadway/Harold Clurman Lab) and Revenger’s Tragedy (Kennedy Center). Television credits include Rookie Blue (ABC), Killer Kids (Lifetime), Unusual Suspects (Discovery), Warehouse 13 (NBC Universal) and Man Seeking Woman (FX). Follow Jeremy on Twitter: @jeremy_ferdman

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    Categories: Alumni, Announcements, News

  • DART alumna to co-host session at the SHIFT Professional Development Conference

    Tuesday, April 18, 2017 | By

    ARTS AND CULTURE: CAREER CONVERSATIONS

    Date/Time: April 28, 2017, 3 pm – 4:15 pm
    Location: Plaza Rm. 410, Brock University

    DART alumna Victoria Mountain will feature at the SHIFT Professional Development Conference for graduate students alongside VISA alumna Shauna Daley with their session, “ARTS AND CULTURE: CAREER CONVERSATIONS”. From the conference website: “A modern cultural worker can thrive in variety of careers in education, media and the arts. The reach and satisfaction of creative practice can be the cusp of personal freedom and a condition for seeking satisfying work. How do we negotiate and harness creative energies within professions that embrace those creative forces? Join our conversation!”

     

    Victoria is a writer, performer, researcher and cultural manager residing in Toronto, Ontario. In addition to her Honours Bachelor of Arts in Theatre from Brock University, she also holds a Master of Arts in Drama from the University of Toronto, and an Erasmus Mundus Master of International Performance Research from the Universities of Warwick, United Kingdom and Helsinki, Finland. Victoria currently works for the City of Brampton as the Manager of Culture with the Economic Development and Culture Division, leading the City through its first cultural master planning process.

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    Categories: Alumni, Announcements, News

  • Brock Dramatic Arts alumni nominated for St. Catharines Arts Awards

    Tuesday, April 18, 2017 | By

    The Department of Dramatic Arts is proud to announce that several DART graduates and one of our DART professors have been nominated for the Emerging Artist award at this year’s St. Catharines Arts Awards!

    More information can be found at this news entry on the main MIWSFPA website. Congratulations, and good luck!

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

  • Brock Professor Collaborates with Dramatic Arts Graduates on New Circus Theatre Show in Niagara Falls

    Monday, March 06, 2017 | By

    MEDIA RELEASE
    David Fancy, a faculty member of the Department of Dramatic Arts at the Marilyn I. Walker School of Fine and Performing Arts, is no stranger to new ventures.

    A veteran creator of new theatre productions that explore current events and engage the Niagara Region, he joined forces with former Cirque du Soleil performers Kosta Zakharenko and Christine Cadeau in 2010 to form Zacada Entertainment.

    “We wanted to combine theatre and circus in new ways,” says Fancy, who’s equally comfortable in the classroom as in the rehearsal studio. “The fusion of genres really permits some unique opportunities for dynamic forms of contemporary expression,” he notes.

    This year, the Zacada Entertainment crew will present a new Cirque Cabaret show, entitled Shotgun Wedding, at Niagara Falls’ 650-seat Greg Frewin Theatre.

    Shotgun Wedding features the story of two star-crossed lovers forced to get married by their deeply religious parents. On their way to Niagara Falls for the ceremony they each secretly decide to have one last fling with the person of their dreams.

    “The production deals with perennial concerns of love and relationships,” says Fancy, “but also shines a humorous and probing light on issues pertaining to Niagara, including migrant labour, tourism, and gambling.”

    Zacada is particularly happy to be working with three recent graduates of Brock University’s Department of Dramatic Arts (DART) who will be taking up the acting and singing roles in Shotgun Wedding.

    Mitchell Allanson, Marley Kajan, and Sean Rintoul have all finished their Honours Dramatic Arts degrees over the past three years, and have gone on to further training and professional creative opportunities around the Greater Toronto and Hamilton Area (GTHA).

    Kajan, a native of Welland, is pleased to be joining the company. “All three of us DART grads are super-happy to have been brought aboard to help bring this show to life,” she says.

    “These kinds of opportunities for intensive professionalization are gold,” says Rintoul, a 2- year veteran of other Zacada productions.

    Marly Kajan, DART Graduate

    Recent Zacada show Fancy has written and directed that have toured Ontario include Circus Revolution, a story about Marxist clowns who escape a gulag by means of their circus prowess, and Circus Labyrinth, a piece that explores creative responses to contemporary forms of social control.

    For its part, Shotgun Wedding features original Niagara-themed musical theatre numbers with support from a seven-piece band, as well as high-octane performances from over 10 cirque artists from Zacada Entertainment’s extensive pool of talent.Silks artists, contortionists, acrobats, and a host of other highly skilled cirque performances each grace the stage for every performance of Shotgun Wedding.

    The production team for Shotgun Wedding is currently in high gear with rehearsals and development for the June 9th opening. The show will be performed sixty times over the course of the summer.

    “We’re deeply excited about this new show,” says Vittoria Wikston, General Manager of the Greg Frewin Theatre, “Especially with how it offers national level talent and serves as a unique reflection of the many strengths and talents of our region.”

    “We couldn’t be happier about having this exciting new addition to our roster of shows,” says master magician and theatre owner, Greg Frewin.

    He adds, “It’s going to be an awesome summer.”

    Website: shotgunwedding.ca
    Brock Promotional code for 20% discount is ShotgunBrock

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

  • Brock alumni showcase talents in The Bacchae

    Thursday, January 19, 2017 | By

    (Source: The Brock News, Thursday, January 19, 2017 | by . Photo: “The Bacchae, a Twitches & Itches Theatre production, is hitting the stage at FirstOntario Performing Arts Centre from Jan. 19 to 21. (Photo by David Vivian)”)

    The worlds of ancient Athens and modern Niagara have come together in a theatrical production led in part by Brock alumni.

    The Bacchae, a modern adaptation of a play originally performed in 405 BCE, is hitting the stage at FirstOntario Performing Arts Centre from Jan. 19 to 21.

    The Twitches & Itches Theatre production challenges ideas of identity and explores what happens when extreme left- and right-wing politics collide.

    When the ensemble began working on the play in February 2015, they had no idea how timely it would be when presented on the eve of the presidential inauguration of 2017.

    “We had no idea Brexit and Donald Trump’s rise to power were just around the corner,” said director Colin Bruce Anthes (BA ’14, MA ’16).

    “The play was miles ahead of us. Many of the play’s original themes are shockingly reflected in our present society.”

    The play engages with current social issues, as Dionysus, an androgynous foreigner, arrives in St. Cadmus and starts changing the entrenched norms. The conservative rule of King Pentheus is challenged by this new god of wine, theatre and ritual madness and the women who abandon the city core to follow him.

    “Some of the dialogue looks like headlines stolen from today’s newspapers,” Anthes said.

    “In our production, the priest of a new religion arrives as a David Bowie-esque glam-rock star, bursting through a city’s eternalized film-noir surface.”

    Issues of identity are central to this play, as xenophobia, transphobia and intolerance of different body types are all challenged.

    Brock student Iain Lidstone found playing the role of Dionysus both rewarding and exhausting.

    “I am a trans man playing a gender-fluid character,” he said.

    “On the one hand, I find utter relief and excitement that as a queer artist I get the opportunity to give a voice to queer identities on the stage.”

    Lidstone’s own experiences informed the development of his character.

    “My character’s gender-fluidity and effeminate nature means I am constantly challenging my own internalized transphobia and trans-masculine identity in order to authentically portray our ‘queerified’ image of Dionysus.”

    Hayley Malouin (BA ’15) plays the role of Agave, mother to King Pentheus.

    “As a fat actor I’ve seen my inordinately unfair share of motherly characters,” she said, while adding that her most recent role has been different.

    “(Agave) is a person before she is a mother and this production pays particular attention to her journey as an intelligent, politically savvy, but ultimately oppressed agent.”

    General manager Marcus Tuttle (BA ’15) describes the production as a play that “makes sense for St. Catharines.”

    Niagara issues are woven throughout the play: the disappearing manufacturing economy and the experiences of migrant workers, as well as challenges faced by the LGBTQIA community.

    Twitches & Itches Theatre is committed to developing local acting talent.

    The group was founded by Anthes and Tom DiMartino in 2009 and moved to St. Catharines in 2013.

    They have gradually built up a core ensemble of nine performers, eight of whom trained at Brock’s Marilyn I. Walker School of Fine and Performing Arts.

    This is the group’s sixth full production and their first independent production at the Performing Arts Centre.

    Tickets are available on the FirstOntario Performing Art Centre’s website.

    Brock students/alumni included in the production: Iain Lidstone, Hayley Malouin, Sean Rintoul, Kaitlin Race, Sean Aileen McClelland, Chelsea Wilson, Marcus Tuttle, Colin Bruce Anthes.

    Media:

    TVCogeco’s feature on The Bacchae:

     

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    Categories: Alumni, In the Media, News

  • Brock students on the Royal Botanical Garden stage

    Monday, August 15, 2016 | By

    (Source: The Brock News, MONDAY, AUGUST 15, 2016 | by . Photo: “Performers in Midsummer Night’s Dream playing at the Royal Botanical Gardens in Hamilton. Back left: John Wamsley, Zach Parsons, Jesse Horvath, Sean McLelland, Caitlin Popek, Nicole James and Dana Morin. Front left: Trevor Copp, Sean Rintoul, Claudia Spadafora, Michael Hannigan and Alma Sarai.”)

    A troupe of Brock University students is putting their dramatic arts talents to work this summer.

    Tottering Biped Theatre’s production of Shakespeare’s “A Midsummer Night’s Dream” – on now at the Royal Botanical Gardens in Hamilton – features a number of familiar Brock faces.

    The production, held at the newly opened David Braley and Nancy Gordon Rock Garden, has been three years in the making. Director and Brock drama instructor Todd Copp says his goal is to offer local opportunities to recent theatre grads.

    “We’ve noticed the difficulty emerging artists have here in getting off the ground and we lose artistic talent to Toronto and further cities every year as a result,” he says on the production’s Facebook page. “In casting this piece, we searched this area’s post secondary theatre programs for the most talented senior students/recent graduates – and offered them paid theatre work. It’s unprecedented in our area.”

    The production links young actors with more experienced ones, teaching the next generation of actors that they don’t need to move away to pursue their passion.

    A number of recent and current Brock drama students are involved on the stage and behind the scenes including Sean McClelland, Sean Rintoul, Caitlin Popek, Nicole James and Dana Morin.

    Nicole James, who is pursuing her BA in dramatic arts with a concentration in production and design, is the production’s stage manager and embraces the challenge of managing a nine-person cast. She works with assistant stage manager and fellow Brock student, Dana Morin.

    James credits Carolyn Mackenzie’s stage management course for giving her the skills she needs for the job.

    “I have the privilege to work professionally in the theatre,” she says. “It’s so obvious that the instructors at the Marilyn I. Walker School of Fine and Performing Arts Dramatic Arts department actually care and are invested in the education of every single student.”

    Copp was an instructor with Brock’s Dramatic Arts program in 2016 and is the artistic director of Burlington’s Tottering Biped Theatre. Founded in 2009, the company is inspired by social justice. They have toured regionally and internationally.

    “A Midsummer Night’s Dream” runs August 10-14 and 17-21 at RBG Rock Garden 1185 York Blvd, Hamilton. Performances start at 7 p.m.; tickets are available at http://tickets.rbg.ca/PEO/default.asp.

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    Categories: Alumni, Current Students, In the Media, News

  • Brock research team studies the evolution of circus performers

    Monday, July 18, 2016 | By

    bromance-220(Source: The Brock News, Tuesday, July 12, 2016 | by )

    Flying trapeze artists, elephants standing on one foot while balancing a ball, jugglers, sword swallowers, bearded ladies: these are among the images of the traditional travelling circus.

    The circus is still going strong today and has gone mainstream. Think Cirque du Soleil, the Montreal-based entertainment company that has become a worldwide phenomenon.

    “This positive news for circus companies, artists and audiences with a taste for thrilling entertainment also raises questions about circuses’ historic status as site for the celebration and exploitation of differences, from stagings of exceptional performing bodies to the display of ‘freakery,’” says Assistant Professor of Dramatic Arts Karen Fricker.

    Fricker is part of an international team of academics, artists and producers researching the relationship of contemporary circus to the widespread practice in traditional circus of featuring people with unusual physical features, such as Siamese twins, women who grow beards, and in extreme cases, people living with a disease or condition that exaggerates certain body parts.

    The team is interested in the ways in which today’s circus artists relate to this “freak show” tradition. Fricker is one of three leaders of the project, called “Circus and its Others,” along with Charles Batson of Union College, in New York and L. Patrick Leroux of Concordia University.

    This month, they are co-organizing a conference about this subject as part of the Montreal Complètement Cirque Festival, with the assistance of two Brock graduate students, Hayley Rose Malouin and Taylor Zajdlik.

    “There’s a large history of profound racism, sexism and ableism that I don’t think is present in contemporary circus in the same way, mostly because contemporary ideologies are very transformed,” says Malouin. “However, it’s interesting to see how some of those elements of sideshow ‘freakishness’ and how we view those born bodies finds its way into contemporary circus.”

    Fricker explains that circuses are, in essence, “variety shows” that feature highly-trained people with extraordinary skills performing daring, risky and spectacular feats.

    These acts are very physical; as a result, a lot of attention is focused on performers’ bodies. In traditional circuses, this focus extended to viewing bodies that were born unusual or made different from diseases or other factors beyond someone’s control.

    But societies eventually became more aware of the struggles and rights of people living with physical challenges, and also increasingly became more sensitive to animal exploitation. For example, after 145 years of featuring elephants in its circus acts, Ringling Bros. and Barnum & Bailey announced that it has plans to retire its elephant herd by 2018.

    The creation of Cirque du Soleil was a turning point in circus history. In the early 1980s, a troupe “juggled, danced, breathed fire and played music” for audiences in Baie-Saint-Paul near Quebec City, says the group’s website.

    One of the performers, Guy Laliberté, took the show on the road in 1984 to celebrate the 450th anniversary of Jacques Cartier’s discovery of Canada.

    “The show was a striking, dramatic mix of circus arts (without animals) and street performance that featured wild, outrageous costumes, magical lighting, and original music,” according to the website. Notably, one of the key features that distinguishes Cirque du Soleil from traditional circus is that it does not include animal acts, and rarely puts born difference on display in its shows.

    Zajdlik says contemporary circuses such as Soleil largely feature “achieved bodies,” bodies “transformed into these powerful vessels that become circus performers” through intensive physical training.

    “Are we gazing upon these spectacular bodies because they represent something that we nostalgically long for in what the freak once gave us?” says Zajdlik. “From aerial feats to contortions, these bodies are doing extraordinary things that you would not normally get to see. In a way, that kind-of represents what the ‘freak’ once represented for circus.”

    The researchers note that there are circuses that feature unusual bodies, but in a very different way than in the past.

    The keynote speaker at this month’s conference is Jennifer Miller, who founded Circus Amok in New York City and is also a professor at the Pratt Institute in Brooklyn.

    Miller has had a beard since her early 20s. She is known as the “Bearded Lady,” who uses her performances to “ask people who look at her to think critically about what they understand as normatively female or male, masculine or feminine,” says Fricker.

    “She challenges those boundaries,” says Fricker. “We’re in the age of gender fluidity. I think she speaks from, and to that, culture in an interesting way.”

    The Circus and its Others conference was held in Montreal July 15 to 17, 2016.

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  • Dramatic Arts alumna feature documentary to be broadcast July 09

    Thursday, June 16, 2016 | By

    (Source: The Brock News, Wednesday, June 15, 2016 | by )

    It was the people and their stories that captivated Nicolina Lanni. What they lost. What they found. How they connected.

    In her first feature documentary film Lost & Found, the Brock University grad shares the stories of Japanese people who survived a devastating tsunami and the beachcombers half a world away who helped pick up the pieces.

    “It’s about people and very personal, human stories,” says Lanni (BA ’05). “It was so clearly such a beautiful story and once it was in front of us, there was no way we were not going to tell it.”

    An estimated 25-million tonnes of wreckage from Japan’s 2011 earthquake and tsunami is drifting across the Pacific Ocean, often washing up on North America’s shores. Filming took Lanni and her creative partner John Choi to Alaska, Washington, British Columbia and Japan.

    Lanni says the debris is more than just trash, it’s remnants of the lives of the 20,000 people lost to the waves and the loved ones they left behind.

    The film follows the stories of beachcombers, scientists and government officials coming together to collect all that was lost, and reunite the items with their rightful owners in Japan.

    “We didn’t really focus on the disaster or the aftermath,” Lanni says. “Our film really focuses on the specific stories of friendship and these really unlikely relationships forged in the aftermath.”

    One of the friendships the film explores is between Alaskans David and Yumi Baxter and a woman they met in Japan after finding a yellow buoy wash up in Alaska. Sakiko Miura lost everything in the tsunami including the restaurant she ran with her late husband Keigo.

    The Baxters reunited Miura with a buoy with the character for Kei (short for Keigo) painted on it, which used to hang outside of her restaurant in a coastal town called Minamisanriku.

    “The fact that the Kei buoy came back makes me think that my husband’s soul is in it,” Miura says in the documentary.

    The meaning of objects and our connection to them is explored throughout Lost & Found.

    The filmmakers made links that will last a lifetime, Choi says.

    “The people in our film are all incredibly close to us still. It’s a family,” he says. “Lost & Found is really about taking that leap of faith and the unlikeliness of people coming together from around the world and connecting.”

    Lanni says the work she did while making the film is drawn from her experiences at Brock, where she studied theatre and women’s studies.

    It was at Brock that she started interviewing people and storytelling as part of a form of verbatim theatre called Collective Creation – when a group comes together, writes, collaborates and performs. She did it in Africa after graduation.

    “We would go into a town, talk to people and create a show and perform it for the community,” she says.

    After working in journalism for a time, Lanni switched to filmmaking and works as a director and producer in film and broadcast television including programming for The History Channel, Discovery Channel and Shaw Media.

    Lost & Found was commissioned by Shaw Communications alongside NHK Enterprises in Japan and SBS in Australia.

    Lanni says they also received the Hot Docs Shaw Completion Fund and the film had its theatrical premier at the Hot Docs Bloor Cinema in March for the fifth anniversary of the tsunami.

    For more information on the film and where to see it visit www.lostandfoundthefilm.ca. Global is showing the movie July 9 at 9 p.m.

    Lanni and Choi, who have a company called Frank Films, are currently working on a documentary about sinkholes.

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  • Dramatic Arts graduating student writes about her experiences at Brock University

    Saturday, May 21, 2016 | By

    goodnight-desdemona60ed07-1600x900crHello future DART students (and those still deciding):

    My name is Elizabeth and I am a graduating student from the Dramatic Arts program at Brock University.  I know you are all facing the important decision of where to go for school next year and wanted to write you all and let you know a bit about why I chose Brock, and the amazing opportunities I’ve had as a result.

    After my invitational experience at Brock I knew it was the place for me.  I left the invitational convinced that this would be a program in which I would be valued and appreciated for what I had to offer as an individual.  I also got the feeling that this would be a program focused on building community rather than competition.  I was right; DART is filled with some of the most supportive people I have ever worked with — professors and peers alike.

    The ability to get a truly well-rounded theatrical education was one of the most important factors in my decision.  Although I was in the performance concentration and therefore had plenty of studio classes and performance opportunities, I benefitted the most from being exposed to all aspects of theatrical production and study.  Crew courses gave me an appreciation for those who work backstage, as well as valuable skills that performers may need when starting their own small companies; critical theory and theatre history courses gave me a strong foundation of theatrical knowledge that I continuously draw on; directing and devising courses allowed my to develop who I want to be as an artist; and a theatre criticism course with Prof. Karen Fricker — who is also the Toronto Star’s new theatre critic — allowed me to discover a passion I was able to further as a writer and editor for dartcritcs.com.  That passion for theatre criticism began my interests in writing and dramaturgy, interests that I am now pursuing in graduate studies at Harvard University and the American Repertory Theater Institute — indicative, I believe, of the quality of education and scope of opportunities DART offers its students.

    If you have a theatre-related interest you want to explore, Brock is the place to do it.  In my time here I have acted in numerous MainStage and student-run productions, directed a one act play and assistant directed last year’s Fall MainStage, coordinated five seasons of the GimmeTwo short scene festival, attended classes at the Stratford and Shaw festivals, learned technical skills ranging from designing lighting plots to building sets, been employed by the university as a stage hand and as a theatre critic, and am currently working as a summer intern at the Shaw Festival. (I write a blog for DART students about this experience which you can find at shawandtell.wordpress.com).  I believe that this program offers students the support and resources to achieve and experience anything they desire.

    DART is a program that allows you to pursue your interests with instructors who not only are some of the best in the business, but who respect and build lasting friendships with their students.  This is a program to explore and gain confidence in new interests in a safe and encouraging environment.  Even better, that environment is now gorgeous and better equipped than ever thanks to the recent move to the brand new arts building.

    I hope that you seriously consider the Dramatic Arts program at Brock.  This program made all the difference in allowing me to become a confident and competent artist, and I know that my future is brighter because of the decision I made when I was in your place.  Please feel free to email me with any questions you may have about the program, I will be so happy to hear from you and will help in any way I can.  Hope to see you on (or behind) the DART stage in the coming years!

    Best of luck,

    Elizabeth Amos
    DART Class of 2016

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  • Brock grad attending prestigious Soulpepper Academy

    Wednesday, May 18, 2016 | By

    (Source: The Brock News, Wednesday, May 18, 2016 | by )

    When Marcel Stewart studied drama at Brock University, he learned more than how to portray a character on stage.

    He learned to write, direct and produce. He learned confidence in his craft.

    “Brock taught me a lot about just being an artist in general,” said the 30-year-old Toronto man. By his third year in the dramatic arts program, Stewart (BA ’07) was completely immersed in all aspects of the theatre.

    “I’m most grateful for the understanding that arts is a community,” he said, noting he appreciated the spirit of collaboration and support at Brock.

    Stewart was recently accepted as one of 17 artists in the prestigious and competitive Soulpepper Academy, a paid two-year training program for theatre artists. More than 1,100 people applied in the nationwide audition.

    Stewart said the six-month audition process was intense but taught him a lot about himself.

    “To be selected as a member of the Soulpepper Academy can be a career-changing appointment,” said Professor David Vivian, chair of Brock’s Department of Dramatic Arts. “We teach our theatre artists to excel across a wide spectrum of skills.”

    Soulpepper Academy has specialized training streams in acting, playwriting, directing, designing and producing.

    Stewart, who for a number of years has been exploring the relationship between Shakespearean language and hip-hop music, is developing a hip-hop adaptation of Macbeth.

    He has also been successful on the stage in the Toronto area and said taking a break from his burgeoning acting career is daunting. But to him, it’s worth the risk.

    “What I’m looking forward to is better preparing myself to become a man on stage,” he said, noting he’s looking to transition from roles for young men into a broader range. “I’m most excited about challenging myself.”

    Vivian said Stewart’s teachers at Brock are proud of his accomplishments since graduating.

    “This is a significant achievement for one of our graduates and it couldn’t have happened to a more generous spirit and talented artist,” said Danielle Wilson, Brock lecturer and director of Mainstage Productions in the Department of Dramatic Arts. “As a student, he was extremely motivated to do quality work that pushed the boundaries of his abilities. I have followed his career over the years and am very impressed by the quality of the projects he has been involved in as a young and developing artist.” Stewart starts at Soulpepper Academy in August.

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