Current Students

  • Grand finale weekend for Orlando at the MIW Theatre

    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.

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    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

    (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
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    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.

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

  • All the world’s a stage for Brock student turned Shaw Festival intern

    Brock Dramatic Arts student Mae Smith gets acquainted with the Shaw Festival theatre in Niagara-on-the-Lake on her first day as the festival’s newest intern.


    (From The Brock News, April 25, 2019 | By: Sarah Ackles)

    Brock Dramatic Arts student Mae Smith is ready to put her in-class learning to the test as she embarks on an eight-week internship with the venerable Shaw Festival.

    Smith, who began in the new role this week, will use her production and design skills as she works alongside Kevin Lamotte, Shaw’s Head of Lighting, Wayne Reierson, Head of Props, and other Shaw staff on the productions of BrigadoonThe Lady Killers, and Sex.

    The shows will run at the festival this summer and fall in Niagara-on-the-Lake.

    Kate Hennig, Associate Artistic Director of the Shaw Festival, said the internship allows students to gain experience in a range of festival activities under the direction of industry professionals.

    Kate Hennig (left), Associate Artistic Director of the Shaw Festival, meets with Mae Smith, Brock’s Department of Dramatic Arts 2019 Shaw Festival intern.

    “In addition to her daily work calls, Mae will have access to the onstage and backstage life of one of North America’s busiest repertory theatres,” she said. “She will meet theatre artists from across Canada and around the world, and will have unique opportunities to attend many lectures, discussions and ancillary events during her residency.”

    Smith said she’s looking forward to the experiential learning opportunities the internship provides and to developing techniques and strategies for staging a production.

    “I’ve had a lot of practical experiences at Brock, but this internship will be quite specific and I’m excited to learn more about lighting design and props construction,” she said. “I also hope I can gain connections with other professionals that will open more career opportunities for me.”

    Brock’s Department of Dramatic Arts (DART) has partnered with the Shaw Festival to provide student internships since 2011.

    Dramatic Arts alumna Michelle Mohammed (BA ’18) was 2018’s intern and worked alongside Peter Hinton on Oh! What a Lovely War. She vlogged about her experiences at the festival on the Marilyn I. Walker School of Fine and Performing Art’s YouTube channel throughout the process.

    Smith will provide weekly updates as well, which will also be shared through the Marilyn I. Walker social media accounts.

    DART students are eligible to apply for this intensive residency following the successful completion of DART 4Y92: Text and Performance at the Shaw Festival Theatre, taught by instructor Barbara Worthy. Students attended festival performances and interacted with festival staff and actors during the course.

    Co-ops and summer contract work at the Shaw has also been available to DART students over the years, and some alumni of the program have even gone on to work for the festival full time.

    Department Chair Joe Norris said all of the internship candidates this year were exceptional students, but Smith was ultimately chosen because her skills and interests were the “best fit” for the particular productions the Shaw Festival is staging this season.

    “The Shaw internship creates a stepping stone between the university world and the student’s future career path,” he said. “Mae will be able to bridge what she’s learned in the classroom with the processes that the Shaw utilizes, and gain experience in a professional environment.”

    Smith is excited to learn more about the inner-workings of the festival and utilize the experience to bolster her resume going forward.

    “I’m really grateful for the opportunity,” she said. “I feel the internship will help me figure out where I want to situate myself in theatre and help me plan my professional path.”

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    Categories: Current Students, News

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

    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.

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

  • Popular One Act Festival returns to Marilyn I. Walker Theatre

    Dramatic Arts students in the Directing II course are presenting a series of short plays as part of the upcoming One Act Festival on Friday, March 22 and Saturday, March 23 at the Marilyn I. Walker Theatre.


    (From The Brock News, March 18, 2019 | By: Sarah Ackles)

    Brock’s Dramatic Arts students will bring the intricacies of human interaction, the banality of small-town life and even the future of ‘designer babies’ to the stage in the upcoming One Act Festival.

    Opening at the Marilyn I. Walker Theatre of the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) on Friday, March 22, the popular One Act Festival will stage eight student-led productions in a two-night run.

    A yearly endeavour, the festival puts students in the Directing II course in the spotlight as they bring a selection of one-act plays to life. The students are responsible for the entire production process, including the selection of a script, auditioning the cast, rehearsing, designing the show and co-ordinating with the Dramatic Arts (DART) production team on all technical needs.

    The course’s instructor, Mike Griffin, said the One Act Festival is one of his favourite parts of the DART program.

    An exciting mentoring process happens, he explained, as students from all years collaborate to create theatre under the leadership of the third-year directing class.

    “As the student actors and directors come together, they put into practice the skills they have been developing throughout their courses, which supports them as they teach each other, grow as artists and inspire the next round of future directors,” he said.

    This year’s productions are all being presented under the theme ‘Rise.’

    Lauren Reid, a third-year DART major and Director of On the Porch One Crisp Spring Morning, said the inclusive and collaborative nature of the One Act Festival makes for a valuable learning experience.

    “Everyone is so open and willing to help me with this great opportunity and to make it the best it can be,” she said. “I have a great team on all sides that are there to support me whenever I need help, and I think this course is a great way for people to explore different opportunities within the DART and theatre community, in general.”

    For second-year DART student Holly Hebert, the festival allows her to “actively participate in the growth of a production.”

    “As an actor in Winter Games, Director Chris Murillo had us engage in a number of exercises that built our relationships, our impulses and developed our One Act to become an incredibly stimulating process,” she added.

    The students encourage the community to attend, promising the roster of shows in the festival are “emotionally active” and will often have audiences “on the edge of their seats.”

    The One Act Festival runs on Friday, March 22 and Saturday, March 23, at 7:30 p.m. each night. All shows take place in the Marilyn I. Walker Theatre of the MIWSFPA at 15 Artists’ Common.

    Admission is pay-what-you-can at the door.

    For more information on the 2018 One Act Festival, visit the Current Season page on the DART website.

    One Act Festival 2019

    Inside the Department of the Exterior
    Directed by: Josh Loewen
    Playwright: Philip Hall
    Actors: Jared Geden, Samantha Rideout

    Another Sense
    Directed by: Rina Wilkins
    Playwright: Melissa Major
    Actors: Madison Andrews, Bianca Taylor

    Winter Games  
    Directed by:Chris Murillo
    Playwright: Rachel Bonds
    Actors: Alex Sykes, Holly Hebert, Leah Rantala

    The Worker
    Directed by: Rachel Frederick
    Playwright: Walter Wykes
    Actors: Paige Hunt-Harmon, Asenia Lyall, Diego Blanco

    Baby Factory  
    Directed by: Tyler Simpson
    Playwright: Stephen Bittrich
    Actors: Tristan Holmes, Luke Huffman, Meryl Ochoa, Nathan Rossi, Elizabeth Martin

    Nightstand  
    Directed by: Uchenna Edozie-Egbuna
    Playwright: Fergus Church
    Actors: Molly Lacey, Luca D’Amico

    One Night Fran
    Directed by: Frances Johnson
    Playwright: Adam Szudrich
    Actors: Kristina Miller, Aly Markov, Sarah Rowe

    On the Porch One Crisp Spring Morning
    Directed by: Lauren Reid
    Playwright: Alex Dremann
    Actors: Alexandra, Chubaty Boychuk and Joanna Tran

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    Categories: Current Students, Events, Faculty & Instructors, News, Plays

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

    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.

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

  • King Ubu coming to Marilyn I. Walker Theatre

    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.

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

  • King Ubu tickets on sale now!

    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.


    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).

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

  • Active attacker info sessions to be held at MIWSFPA Nov. 8 & Nov. 14

    (From The Brock News, Tuesday, Nov. 6, 2018)

    Would you know what to do if there was an active threat or shooter on campus?

    It’s a scenario most people could never imagine happening at Brock University, but one that Campus Security wants to ensure the community is prepared for.

    Campus Security at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) will be holding two information sessions for staff, instructors, faculty and students of the School this month to discuss emergency preparedness in an active attacker situation.

    Rick Fraser, Brock’s Manager, Emergency Management and Life Safety, will be presenting material on the active attacker protocol that has been adopted at the University during these sessions.

    The information and training sessions will take place in MWS 156 on:

    • Thursday, Nov. 8 from 8 to 9 a.m.
    • Wednesday, Nov. 14 from 1 to 2 p.m.

    No registration is required, but the sessions are currently limited to those who study or work at the Marilyn I. Walker School of Fine and Performing Arts, due to space limitations.

    For more information on the MIWSFPA sessions, contact Rick Tollar, Supervisor, Campus Security Services, at 905-688-5550 x 6399.

    Information on the active attacker protocol adopted at Brock University is available on the Campus Security website.

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    Categories: Announcements, Current Students, Faculty & Instructors, News

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

    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.

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