Visiting Artists

  • Public showcase to celebrate acclaimed artist Ann-Marie MacDonald’s Brock residency

    An upcoming public event will highlight Brock University’s collaboration with celebrated Canadian author, actor and playwright Ann-Marie MacDonald. (Photo Credit: Travis Silverman)

    published Friday, June 5, 2026 in The Brock News | by 

    New Brock University research conducted in collaboration with beloved Canadian author, actor and playwright Ann-Marie MacDonald is poised to change the way readers experience and engage with literature.

    The findings of the Mapping Ann-Marie MacDonald (MAMM) project will be unveiled at a public symposium on Saturday, June 20 that will also give guests a sneak peek of the critically acclaimed Fall on Your Knees novelist’s latest play, Best Soldier, which she’s been developing during her residency with the University.

    Held at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) in St. Catharines, the event will highlight innovative Brock literary learning and theatre creation research while also offering a rare behind-the-scenes glimpse into MacDonald’s creative process.

    MacDonald will perform a reading from Best Soldier, which is still in development.

    MAMM was designed to advance scholarly research on MacDonald’s influential body of work, explore new types of humanities research and promote collaborative student learning across academic disciplines.

    Brock University research assistants working on the Mapping Ann-Marie MacDonald (MAMM) project put finishing touches on a 3D map for the upcoming MAMM Symposium. From left are third-year English Language and Literature student Riley Campbell, Brock Digital Humanities graduate Paige Wolf (BA ’25), third-year English Language and Literature student Sloane Gray and Social Justice and Equity Studies master’s student Emily Mills.

    Co-led by Neta Gordon, Professor of English Language and Literature, and Aaron Mauro, Chair and Associate Professor of Digital Humanities, the interdisciplinary team also includes Ebru Ustundag, Associate Professor of Geography and Tourism Studies, and Tim Ribaric, Scholarly Publishing and Platforms Librarian, as well as student research assistants.

    The team was driven to explore how MacDonald’s work helps people understand their connections to places, communities and other people.

    Gordon is thrilled to share insights gained during MacDonald’s three-year research involvement at Brock, especially on how the author’s accessible way of questioning political and cultural ideas can inspire new approaches to academic research.

    “In putting together an interdisciplinary team of senior and junior researchers and working collaboratively to make decisions, the MAMM project highlights how new ways of thinking can emerge out of relationships and community building,” she said.

    MacDonald said the project “represents something new. A synthesis. A tool for critical analysis, and a portal to the mysteries of imagination and creative process.”

    The symposium will also celebrate MacDonald’s tenure as Brock’s 2026 Walker Cultural Leader, which launched in January with an excerpt reading of Best Soldier by the playwright.

    Over the past six months, MacDonald has worked with the Department of Dramatic Arts (DART) to deliver student workshops offering valuable insight and perspective on developing artistry and creative voice in relation to theatre creation.

    “DART students have had an exceptionally rare opportunity to apply techniques Ann-Marie has taught them in their own play development projects, while observing how Ann-Marie’s own work on Best Soldier has evolved during her residency as Walker Cultural Leader,” said DART Chair and Professor Jennifer Roberts-Smith. “It’s been an inspiring few months.”

    The MAMM symposium program will feature research poster presentations, a 3D map in the MIWSFPA lobby, digital exhibitions showcasing virtual literary maps and live demonstrations run by the research team.

    Faculty and student researchers will formally present their findings to the public from 11 a.m. to noon. MacDonald’s reading from Best Soldier will take place from 1:30 to 3:30 p.m., including time for audience questions. Following the reading, Roberts-Smith will facilitate a discussion with MacDonald and Canadian theatre artists Alisa Palmer and Rebecca Harper.

    The public symposium is free to attend, but tickets must be reserved ahead of time on Brock University Tickets.

    The MAMM project was supported by a Government of Canada Social Sciences and Humanities Research Council Insight Development Grant.

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  • Aspiring artists shine at youth theatre festival

    The second annual National STAR Festival South (School Theatrical Arts Recognition Festival) welcomed 150 students, guest artists and educators to the Marilyn I. Walker School of Fine and Performing Arts from May 8 to 10. The packed schedule included an intensive 24-hour playwriting workshop led by Toronto-based producer, actor, screenwriter and sound designer Sean Meldrum with support from third-year Dramatic Arts (DART) student Ariel Piluso and Concurrent Education and DART student Kashvi Sharma. Mentoring students in the workshop (right to left, seated at table) are Sharma, Piluso, Liya Edwards of Assumption College School and Ava Montgomery of A.N. Myer Secondary School, directing Als Vanderlee of Laura Secord Secondary School (second from left) and Arlo Ross of AN Myer Secondary School (left).

    published Thursday, May 14, 2026 in The Brock News | by 

    Emerging young theatre artists nurtured their creativity and built their confidence during a recent festival held at Brock’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA).

    Hosted by Brock’s Department of Dramatic Arts (DART), the second annual National STAR Festival South (STAR for School Theatrical Arts Recognition) welcomed 150 students, guest artists and educators to the School from May 8 to 10 for immersive learning, mentorship, performances and community building. Students came from Alexander MacKenzie (YRDSB), A.N. Myer (DSBN), Assumption College (Brant/Hamilton DSB), Bravo Academy (TDSB), E.L. Crossley (DSBN), Holy Cross (Niagara Catholic DSB), Laura Secord (DSBN), Meadowvale (Peel District), Milliken Mills (York Region DSB), St. Paul (Niagara Catholic DSB) and Welland Centennial (DSBN) Secondary Schools. For many this was their first visit to the campus of the MIWSFPA.

    Students participated in hands-on workshops spanning musical theatre, playwriting, devising through Viewpoints, acting, sound and lighting design, acting for the camera, audition tips and tricks and a special Brock edition of the Theatre Tech Olympics.

    Workshop instructors included guests from AMDA College of the Performing Arts (New York and Hollywood), Savannah College of Art and Design (Atlanta, GA), The Vancouver Film School, Shaw Festival, Brock University, Niagara College, Toronto and the region.

    The performance events were technically produced by our MIWSFPA Theatre Technician Sandra Marcroft, supported by DART students Liam Farrell, Gianna Lupparelli Nash and Skylar Perrier.

    The two-day event culminated in a friendly competition designed to prepare students for future learning, performance and production opportunities. The performances and presentations were adjudicated by guest mentors from across North America including DART faculty David Fancy and Danielle Wilson and students from the Department of Dramatic Arts.

    The winning One Act play for the STAR Short Play Program, The Job, was written by an emerging playwright from Assumption College School in Brantford Ontario, Liya Edwards. The play is a short comedic piece that tells the story of today’s job climate. It follows a young man on his journey through a job interview experience when things don’t turn into what he expected. During the closing ceremonies The Job and two other original plays were performed, following their development during a 24 playwriting intensive under the mentorship of Toronto-based actor, screenwriter, and sound designer Sean Meldrum assisted by DART students Ariel Piluso and Kashvi Sharma. Edward’s play will be published by the TAEA and included in future teaching and learning catalogues of plays for high school and emerging artists.  Read about Edward’s experience in the Brantford Expositor.

    There were 22 scholarship applicants for awards including Performance Arts, Leadership in Performance Arts, Technical Theatre and Design, Future Theatre Educator, Music Theatre Performance, and Creative Citizenship with a total value of approximately $350,000.  Students from schools across Niagara and the GTA were awarded scholarships from AMDA, Savannah College of Art and Design, Vancouver Film School, Theatrical Arts Education Association, and Brock University ranging in value from $200 CAD to $80, 000 USD.

    The festival was co-organized by Tracy Garratt, Program Leader for the Arts with the District School Board of Niagara and a teacher at A.N. Myer Secondary School in Niagara Falls, and David Vivian, DART Associate Professor and Scenographer.

    In the keynote address welcoming students, Vivian spoke to the legacy of Marilyn I. Walker’s founding gift for MIWSFPA in downtown St. Catharines and invited the visiting emerging artists to make their community — and the world — a better place by creating theatre informed by their own vision.

    “The STAR Festival is a remarkable opportunity for secondary school students, teachers and members of the University community, students and faculty, to come together in the power of the performing arts to express, tell our stories and share our aspirations for future generations,” he said.

    For Garratt, the festival presented participants an opportunity for space for growth, belonging, creativity and connection.

    “The experience provides young thespians with opportunities to learn, develop confidence, collaborate with peers and celebrate the arts in an environment that encourages both excellence and vulnerability. STAR Festival has become an important part of the artistic and personal development of so many young people,” she said.

    Third-year DART student Ariel Piluso, who is pursuing a concentration in Performance, served as a workshop mentor in the one-act playwriting session. She worked closely with secondary school students and helped bring their plays to life in the final performances of the festival.

    “Together, we explored ensemble-based theatre, collaboration, staging and storytelling in a supportive creative environment,” she said.

    After graduating, Piluso aspires to become a theatre educator and work with students from different age groups.

    “The STAR Festival is close to my heart as it gave me the chance to begin developing the mentorship and teaching skills I will use in my future career. This experience is deeply connected with my studies because so much of dramatic arts is rooted in collaboration, creativity, ensemble work, communication and storytelling. Through the festival, I was able to apply those skills in this setting while learning how to adapt them for younger students,” she said.

    Third-year Concurrent Education and DART student Kashvi Sharma worked as an adjudicator and mentor at the festival, which incorporates friendly, rubric-driven competition and culminates with awards given in various performance categories.

    “My biggest takeaway from this experience was having the pleasure of watching such a young, but very mighty, group of artists put themselves out there, test themselves, try new things and take risks,” she said.

    The festival also welcomed back DART graduates who helped facilitate workshops. DART graduate Laura Maieron (BA ’24), who completed a concentration in Production and Design, facilitated a workshop on lighting design and co-led the “Tech Olympics competition.”

    Maieron, Production Manager for Suitcase in Point Multi-arts Company, said her goal was “to help students leave the competition with a newly acquired set of skills to bring back to their creative work, in their high schools and beyond, and help advance their careers as emerging artists.”

    The National STAR Festival South is one of five national festivals taking place in May 2026, the others located in Vancouver, Winnipeg, Ottawa and Corner Brook, NL.  A project of the Theatrical Arts Education Association of Canada, TAEA is a national arts service organization strengthening Canadian theatre through artist-led training, national showcasing pathways, and sector resources for artists, teaching artists, educators, and organizations. Sponsors for the National STAR Festival South included Youth Wellness Hubs of Ontario, Contact Niagara, AMDA, SCAD, VFS, Ontario Staging Limited, Shaw Festival, IATSE, Theatrefolk and the John Howard Society of Niagara.  The festivals would not be a success without the dedicated support of teachers and their administrations from across Niagara, Ontario and Canada.

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  • THANK-YOU STARfest National South and WELCOME to Niagara Childrens Festival

    After a remarkable three days of the the National STARfestival South of the Theatrical Arts Education Association, when we welcomed students from Alexander MacKenzie (YRDSB), A.N. Myer (DSBN), Assumption College (Brant/Hamilton DSB), Bravo Academy (TDSB), E.L. Crossley (DSBN), Holy Cross (Niagara Catholic DSB), Laura Secord (DSBN), Meadowvale (Peel District), Milliken Mills (York Region DSB), St. Paul (Niagara Catholic DSB) and Welland Centennial (DSBN) Secondary Schools, this weekend we welcome the artists and audiences of the Niagara Children’s Festival 2026 produced by Carousel Players of St. Catharines, one of the pre-eminent companies producing theatre for youth and young people on the national landscape.

    The Niagara Children’s Festival is an exciting explosion of creativity, offering live theatre, performances and arts-based activities for young audiences and their families. Join us in downtown St. Catharines May 14-17 for a celebration of Arts & Culture for all ages!

    See the welcoming instagram posts and get all the information about performances and activities at https://www.niagarachildrensfest.com/

    Check out the Venue Guide and the Festival Program. Opening tonight!

    We also welcome the return of Dramatic Arts alumni Taylor Bogaert (BA Honours Dramatic Arts, 2020), Josh Loewen (BA Honours Dramatic Arts, 2020) and Alex Sykes (BA Honours Dramatic Arts, Concentration in Production and Design, 2022) and their project Why Don’t We Together, a recorded storytelling performance from Dear Bear Multi-Arts (instagram). Why Don’t We Together is an immersive, audio-visual experience that takes place in a custom-built structure called “The Hut.” When audiences enter The Hut, they are met with a choice between several curated audio stories, all written and recorded by a variety of handpicked Ontario artists. These stories are accompanied by rich sound design and dynamic lighting – the walls, seats, ceilings, and airwaves come alive as audiences get transported into the world of each story.  WDWT was presented by Dear Bear Multi-Arts (website) with a different program of stories this past September 2025 at the Marilyn I. Walker School of Fine and Performing Arts and was the subject of an exhibition of the Museum in the Hallway / Boîte-en-valise of the Centre for Studies in Arts and Culture at the beginning of 2026.

    Break-a-leg to all of the students and staff of Dramatic Arts at Brock University, some of them participating in experiential education and Work-in-Learning opportunities and helping to make the festival a success!

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  • Come work with us!

    The Department of Dramatic Arts is currently inviting applications for three positions:

    Assistant Professor, One-year Instructional Limited Term Appointment (ILTA), Performance Scenography

    Project Coordinator

    Project Adminstrator

    Read excerpts of the postings on our Employment Opportunities page and follow the linked postings titles directly to the Careers page at Brock University.

    Contact the department for more information:  [email protected]

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  • Dramatic Arts mainstage brings fantasy world to life in celebration of unique identities

    Fourth-year Brock University Dramatic Arts student Nav Brar (left), the puppeteer for Melifollee, and third-year student Landon Drexler, the puppeteer for Pendamire Dragonius, enter into a scene in Escape to ILKANOR: A Fantasy Play in Nine Chapters.

    published Monday, March 02, 2026 | Brock News | by 

    Brock University’s Department of Dramatic Arts (DART) is set to whisk audiences away to a magical land of powerful beings and fantastical creatures.

    Cast members Sandra Nampiima and Daisy Ford with puppets during a technical rehearsal.

    From dragons and elves to wizards and sorceresses, Escape to ILKANOR: A Fantasy Play in Nine Chapters invites viewers to leave the real world behind and embark on a journey of the imagination. The mainstage production opens Friday, March 6 at the Marilyn I. Walker Theatre in downtown St. Catharines.

    Written and directed by DART Assistant Professor and playwright Mike Griffin, the play explores escapism and fantasy genre tropes through diverse characters and extraordinary creatures.

    “Our creative exploration of escapism began by asking why people want to escape through stories and where they want to escape to,” he says.

    Featuring bold theatrical components that incorporate puppets, masks and physical theatre, the fantasy unfolds in nine chapters, each featuring a host of characters who travel to different areas in the magical land of Ilkanor.

    Many of the characters reflect marginalized perspectives that are not often represented in leading roles, Griffin says. Through their magical transportation to Ilkanor, these characters are able to explore different parts of their identity.

    Cast members Curtis Honsberger, Sandra Nampiima and Ryleigh OBrien rehearsing with th puppets Trink and Somp.

    Among the play’s chapters, for instance, are tales of a neurodivergent individual who becomes a wizard in Ilkanor and a non-binary drag artist who becomes the leader of a kingdom.

    Griffin says the play is not a typical hero’s journey.

    “Instead, we are exploring representation in fantasy, touching on neurodiversity and disability, and wrestling with identity and self-care,” he says.

    More than 40 DART students in all years of the program will bring Ilkanor to life, advancing their learning by collaborating with both emerging and established theatre makers.

    “The show is truly magical, not only in the fantasy elements, but also in the collaborative work and care to build the world of Ilkanor,” fourth-year DART student and mainstage performer Nav Brar says. “I personally don’t know another show that has highlighted so many different people that don’t always get their time, in one production.”

    DART student Julia Foley, assistant designer for the play presents her mask and costume designs to the first year students in Scenography and Stagecraft.

    Third-year DART student Julia Foley, an assistant designer for the play, says the crew embraced a sustainability mindset while creating the fictional world, with the production incorporating recycled materials in the set, costume and puppet designs.

    Working with limited or thrifted materials meant having to explore and be open to new possibilities based on what is available, she says.

    Brock University’s Dramatic Arts mainstage performance of Escape to ILKANOR: A Fantasy Play in Nine Chapters opens Friday, March 6 at the Marilyn I. Walker Theatre.

    “The elements of transformation and rebirth are at the core of the show’s landscape, communicated not just through the set and costumes, but through the stories told by each character as they journey from the real world to Ilkanor, where they unlock their full potential,” Foley says. “We similarly saw the potential in our thrifted fabrics, books and garbage materials and transformed them into something beautiful and new.”

    Escape to Ilkanor: A Fantasy Play in Nine Chapters opens Friday, March 6 at 7:30 p.m. at the Marilyn I. Walker Theatre in the Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines. Performances will also take place Saturday, March 7 at 7:30 p.m., Sunday, March 8 at 2 p.m., Thursday March 12 at 11 a.m., Friday, March 13 at 7:30 p.m. and Saturday, March 14 at 7:30 p.m.

    General admission tickets are $25 and tickets for students and seniors are $20. Visit Brock University Tickets to reserve seats.

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  • How the arts shaped Walker Cultural Leader’s path to Indigenous roots

    As part of the 2025-26 Walker Cultural Leader Series presented by the Marilyn. I. Walker School of Fine and Performing Arts, celebrated multidisciplinary artist Nicole Joy-Fraser (second from left) is in residence in the Department of Dramatic Arts (DART). Joy-Fraser plays the role of the Métis Nutcracker in DART’s mainstage production, performing alongside DART students second-year student Tejay Morley (left), fourth-year student Emma Marcy (second from right) and second-year student Sarah Lazo de la Vega Sanchez (right).

    Originally posted in the Brock News | Tuesday, December 02, 2025 | by 

    Reclaiming their First Nation identity has led multidisciplinary artist Nicole Joy-Fraser down many paths, from international theatre stages to local drum circles and, recently, to Brock.

    As one of Dramatic Arts’ (DART) Walker Cultural Leaders for 2025-26, Joy-Fraser plays the role of the Métis Nutcracker in DART’s upcoming mainstage production.

    They will join Assistant Professor and Métis Nutcracker playwright Matthew MacKenzie, a citizen of the Métis Nation of Alberta, for a public artist talk, “Making Métis Nutcracker,” on the Marilyn I. Walker Theatre stage on Friday, Dec. 5 at 3 p.m.

    Joy-Fraser is a proud bear clan matriarch who grew up in Mississauga with Euro-Settler, Tsa’tinée, Nehiyaw and Métis bloodlines from Horse Lake First Nation in Alberta.

    Identity is the heartbeat of Joy-Fraser’s artistic practice, which spans more than 25 years of storytelling on stage and screen with celebrated companies such as the Stratford Festival, the Shaw Festival, Mirvish, Theatre Aquarius, CBC, CBS, BBC and Telefilm.

    “The more I learn about my background, the more I am driven to keep sharing Indigenous theatre and more deeply understand my job as an artist to propel stories forward not just about identity but also reconciliation,” Joy-Fraser says.

    Nicole Joy Fraser

    Dramatic Arts Walker Cultural Leader Nicole Joy-Fraser is a proud bear clan matriarch who grew up in Mississauga with Euro-Settler, Tsa’tinée, Nehiyaw and Métis bloodlines from Horse Lake First Nation in Alberta. As a multidisciplinary artist, community theatre practitioner and cultural facilitator, Joy-Fraser continues to advocate for Indigenous ways of knowing and doing, which have greatly impacted their journey as a Sixties Scoop witness and 2Spirit Helper.

    Inspired by — as it happens — a performance of The Nutcracker they saw with their parents, Joy-Fraser spent much of their youth performing with local theatre companies. They instantly fell in love with ballet and began singing thanks to the “golden oldie” musicals on repeat in their home.

    It was in high school drama class, when handed a copy of Dry Lips Oughta Move to Kapuskasing (1989) by Cree writer and performer Tomson Highway, that Joy-Fraser began asking more questions about their roots.

    After three years at performing arts college Randolph Academy, Joy-Fraser landed a dream-come-true gig as a member of the first North American cast of Mirvish Theatre’s Mamma Mia! auditioned by ABBA’s Björn Ulvaeus himself.

    Years of performing in many non-Indigenous roles followed for Joy-Fraser on prestigious stages across Canada and with West End Theatre in London, U.K.

    At the same time, Joy-Fraser’s drive to learn about their First Nation identity burned brighter, spurring them on in their journey to find their maternal birth family.

    After years of searching and almost giving up, Joy-Fraser finally connected to their Northern Alberta roots. An Elder at their first sweat ceremony recognized their surname as belonging to their birth mother and realized her cousin was married to Joy-Fraser’s Auntie.

    “At that time, we weren’t equipped with the language and learnings to help us carry our trauma as intergenerational survivors and Sixties Scoop witnesses,” Joy-Fraser said.

    Joy-Fraser began attending traditional healing ceremonies and connecting with Elders and Knowledge Keepers. Suddenly, they were learning their history.

    “My acting roles began resonating with my personal growth, and I knew I was bound to give back to our community by sharing my story and helping others heal through the arts,” they said.

    Performing the role of the Métis Nutcracker as DART’s Walker Culture Leader has been a meaningful experience for Joy-Fraser, moved by sharing both their extensive experience as theatre practitioner as well as First Nation customs that have been part of the production process, including smudging ceremonies and feasts.

    “The best way to learn something is to experience it, and DART students are learning about Indigenous cultures by embodying this story — by living it and reflecting on it — you couldn’t ask for a more active action of reconciliation than what Brock is doing right now with this piece.”

    As an Indigenous student and actor, second-year DART student Abbey Keays of the Upper Mohawk Turtle Clan who performs in Métis Nutcracker said she has learned so much from Joy-Fraser, who she looks to as a mentor.

    “We have had important talks about what we can do to keep our cultural stories accurate, appropriate and informative. It’s not very often you get the chance to experience Indigenous work or work with Indigenous artists as an actor who is starting out,” Keays said. “I am very grateful to have Nicole Joy-Fraser to look up to in my career.”

    For more information about the Métis Nutcracker see the Department’s Events + Programming webpage.

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  • Métis Nutcracker: Classic winter tale reimagined in celebration of Indigenous identity

    Brock Dramatic Arts students are preparing for the University’s upcoming mainstage production of Métis Nutcracker written by award-winning Canadian playwright and Assistant Professor Matthew MacKenzie. Third-year student Ella Martin, Assistant Head of Wardrobe (left), adjusts third-year student Molly Solomon’s (centre) handmade Maple Sugar Fairy regalia, assisted by fourth-year student Nav Brar, Wardrobe Co-ordinator.

    Originally posted in the Brock News | Friday, November 28, 2025 | by 

    When Molly Solomon brings her contemporary Fancy Shawl Dance to life in Brock University Dramatic Arts’ (DART) mainstage production, she will draw strength from her Ojibwe name, Ishkode Kwe.

    The name, translated to “Fire Woman” and “First Spark in my Heart,” was gifted to the third-year DART student by her grandmother — and she wears it proudly, just like the handcrafted regalia she dons on stage.

    Solomon plays the Maple Sugar Fairy in Brock’s upcoming production of Métis Nutcracker, which opens Friday, Dec. 5 at the Marilyn I. Walker TheatreThe new play was written by award-winning Canadian playwright and DART Assistant Professor Matthew MacKenzie, citizen of the Métis Nation of Alberta, and is directed and choreographed by celebrated theatre artist Monica Dottor.

    Solomon says sharing her Indigenous heritage with the Brock community is a profound experience.

    “I feel so welcome when my peers and mentors are genuinely curious to learn about my Indigenous identity,” she says.

    Brimming with magic, song and dance — and sprinkled with a dash of playful audience interaction that may involve throwing snowballs at the stage — the story is inspired by MacKenzie’s family heritage.

    In Métis Nutcracker, two Ukrainian refugees named Tatiana and Vanya are forced to flee from their home in the Red Pine Forest to escape the evil Rat King. They seek safety on Turtle Island where they are taken under the protection of the Métis Nutcracker, played by DART Walker Cultural Leader and multidisciplinary artist Nicole Joy-Fraser.

    “They travel in the four directions learning about different nations and sacred medicines in the Land of Flowers, Land of Berries, Land of Snowflakes and Land of Pine Cones,” MacKenzie says of the characters’ journey in his adaptation of the classic Nutcracker tale.

    Created for young audiences, the play celebrates identity and diversity.

    “My son is Ukrainian and Métis, and I wanted to be able to speak to him about his Indigeneity while exploring concepts of colonialism in a way that he could understand,” MacKenzie says.

    For Joy-Fraser, performing the role of the Métis Nutcracker also resonates with reclaiming their own Indigenous background. Joy-Fraser is a proud bear clan matriarch who grew up in Mississauga with Euro-Settler, Tsa’tinée, Nehiyaw and Métis bloodlines from Horse Lake First Nation in Alberta.

    Paramount to the production was ensuring that youth — particularly those with an Indigenous background — had the opportunity to experience Métis Nutcracker. Support from St. Catharines theatre company Carousel Players helped to achieve this goal, with two school-day matinee performances now sold out.

    “I hope every Indigenous child sitting in the audience sees themselves and their beliefs reflected in the beauty of the show,” Joy-Fraser says. “It’s magical storytelling embedded in nature, which is so much a part of who we are.”

    Indigenous practices of cultural significance are woven throughout the play,  including set pieces, costumes and regalia featuring intricate beadwork as well as custom painted canoe paddles, created in collaboration with Indigenous theatre cohort Pemmican Collective.

    MacKenzie, who teaches Contemporary Canadian Indigenous Theatre, says learning about different Indigenous nations alongside the cast and crew has been transformative.

    Métis Nutcracker celebrates differences,” he says. “Everyone involved at Brock has come together to honour those differences, putting the ‘action’ in truth and reconciliation.”

    As the first Indigenous DART faculty member to write an original mainstage production for the University, MacKenzie says the in-house work of Indigenizing theatre is gaining momentum.

    MacKenzie is also excited to see more Indigenous representation at the University in the future.

    “We have such a supportive environment at the MIWSFPA, a true willingness and curiosity to learn,” he says. “Our conversations are centred on this performance, but they will carry forward.”

    Additional performances of Métis Nutcracker will take place Saturday, Dec. 6 at 2 p.m. and 7:30 p.m. and Sunday, Dec. 7 at 2 p.m. General admission tickets are $25 and tickets for students and seniors are $20. Visit Brock University Tickets to reserve seats.

    MacKenzie and Joy-Fraser will also host a public artist talk related to the production at the Marilyn I. Walker Theatre on Friday, Dec. 5.

    For more information about the Métis Nutcracker see the Department’s Events + Programming webpage.

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  • Enbridge bursary empowers students through work-integrated learning, advocacy

    From left: Dramatic Arts students Sandra Nampiima, Makayla Finn and Karai Flowers celebrate The Masks We Wear, the One Acts Play Festival that featured a performance co-created by Finn and her fellow upper-year Brock Dramatic Arts students, which is part of the theatre-based projects she pursued through the Enbridge Inc. Career Experience Bursary.

    This story was originally published in the Brock News on Wednesday, August 13, 2025.  Additional information has been included.


    The stage is more than a performance space for Brock University student Makayla Finn; it’s a platform for belonging and empowerment.

    This summer, it became a launchpad for deeper impact, made possible by support from Enbridge Inc.

    Finn, a fourth-year student in the Bachelor of Physical Education program with a minor in Dramatic Arts, received the 2025 Enbridge Inc. Career Experience Bursary alongside Justin Mafie, a Bachelor of Science student in Mathematics.

    The award supports undergraduate students involved in Brock’s Work Experience Program offered by Co-op, Career and Experiential Education (CCEE), with preference given to non-co-op students who demonstrate financial need. Funded by a $10,000 gift from Enbridge Inc., the bursary provides $5,000 to each recipient to pursue meaningful, career-aligned opportunities.

    Recognized on their academic transcript, the program allows students to set intentional learning goals, develop Brock’s core competencies and reflect on their growth with guidance from a member of the Co-op Education and Workplace Partnership team.

    A speaker stands at a podium with a laptop, gesturing with one hand while addressing an audience at Brock University.

    Brock University student and entrepreneur Justin Mafie presents during Black History Month and African Heritage Month events. Mafie’s digital creative agency, CREOVA, grew through the Enbridge Inc. Career Experience Bursary and Brock LINC’s Navigate program.

    Through feedback from employers and the chance to build industry connections, students gain insight and confidence to navigate their future careers.

    “We are deeply grateful for Enbridge’s generous bursary support, which makes it possible for students with financial need to pursue meaningful, career-relevant work experiences,” said Julia Zhu, Director, Co-op, Career and Experiential Education. “This support not only reduces financial barriers but also empowers students to gain the skills and confidence needed to thrive in their chosen fields.”

    The bursary allowed Finn to pursue a suite of theatre-based initiatives this summer, including directing an adaptation of Miss Julie for Brock’s One Act Festival, acting and collaborating in four Summer Institute workshops, and contributing to the DART Performance Research Institute (DART PRI).

    For Finn, who grew up in Toronto, these experiences represent more than professional growth.

    “This summer’s projects reflected a transformation,” she said. “I was once a young girl who would’ve never imagined what she could accomplish, but through faith and perseverance, I’ve learned never to take the gift of life for granted.”

    Through the One Act Festival, Finn explored themes of race, gender and class in Miss Julie, co-directing a reimagined production with third-year DART student Gianna Lupparelli that pushed boundaries and challenged norms. The production featured the performers Landon Drexler as John, Megan Mastantuono as Julie, and Sandra Nampiima as Christine. Toronto-based DART instructor Michael Reinhart was the Artistic Director of the festival.

    At DART PRI, Finn worked in an incubator focused on anti-supremacy in theatre and education, combining creativity with critical advocacy. Her projects included Wife of Bath by Independent Auntie Productions, led by renown Canadian artists Anna Chatterton and Evalyn Parry, Minosis Gathers Hope by Carousel Players, led by Monica Dufault and Christine Sokaymoh Frederick, The Square, led by the Dora Nominated Nigerian Actor, Writer, Performer and Mother, Dienye Waboso Amajor, and The Source The Work The Story by In my own head theatre, led by Dienye Waboso Amajor, Marcel Stewart (DART alumnus), and Shabnam Sukhdev.

    “Silence doesn’t create opportunity,” Finn said. “To make a positive impact, you must advocate not just for others but for yourself.”

    Her work in the arts is part of a much broader mission. This past fall, Finn launched the Black Flourishing Advocacy Initiative, a community-wide effort promoting Black mental health, leadership and critical inclusivity at Brock.

    “The goal is to create braver and safer spaces where people feel seen, heard and valued,” she said. “This bursary gave me the time and resources to grow as an artist and advocate; to show up for others.”

    As Vice-President of the Black Student Association, she is spearheading the initiative alongside Brock University Students’ Union (BUSU) clubs and community members.

    “I may not carry every lived experience,” said Finn. “But I show up. Helping someone find their voice and purpose — that’s power. I choose to speak loudly, fiercely, even when it’s uncomfortable, because my story, my truth and my voice deserve to take up space.”

    Meanwhile, Mafie used the funding to pursue his passion for entrepreneurship.

    Through Brock LINC’s Navigate program, he is developing his startup, CREOVA, which is short for “creative innovation.” The digital agency offers videography, photography, social media management and branding services.

    “With a background in computer science, math and business, I’ve always been fascinated by the intersection of data and creativity,” said Mafie. “CREOVA helps individuals and organizations tell their stories in a way that feels authentic and meaningful.”

    Through Navigate, Mafie has engaged with dozens of potential clients and gathered feedback to refine his services. The hands-on, 11-week program supports early-stage ventures by teaching lean startup methodology, connecting participants with mentors and encouraging customer discovery.

    “Receiving the bursary made a huge difference,” he said. “It allowed me to dedicate real time to developing the business and building a foundation for long-term growth.”

    Mafie said the support not only made the logistics of entrepreneurship easier but also affirmed that his work matters.

    “That kind of encouragement goes a long way,” he said. “The Enbridge bursary helped me turn an idea into something with real impact.”

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

  • A successful DART Performance Research Institute for 2025

    above: Jewels Krauss in full mask and costume during the Summer 2024 DART PRI.

    Guest artists, faculty, instructors, staff and participating students are now halfway through the four-week program of the DART Performance Research Institute (DART PRI) for 2025.

    DART PRI is a performance research and development incubator housed in the Department of Dramatic Arts (DART) at Brock University.

    The Institute supports performance research and research creation projects that align with DART’s commitments:
    1) praxis: the generative integration of theory and practice, and
    2) anti-supremacy: active interventions into identity-based and intersectional oppressions arising from the concept of superiority and related practices.

    Projects at the PRI are organized into three main channels of development: Research Explorations, Summer Institute Workshops and Summer Institute Residencies.

    PRI Summer Institute Workshops for 2025
    For the four weeks of July 14 through August 9, 2025 the PRI welcomed seven projects at the proof-of-concept stage. The workshops provided 1-2 weeks of in-studio and online development to test or develop early drafts and ideas.
    Read about these projects and Research Explorations on the DART Performance Research Institute webpage.

    Congratulations to all of the artists and theatre makers involved with PRI!

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  • Dramatic Arts alumni and instructors shine at the 2025 Dora Awards

    On June 30, 2025 the Toronto Alliance for the Performing Arts recognized the Nominees and Recipients of the 45th Anniversary Dora Awards and DART was there!

    The annual Dora Mavor Moore awards (or Doras) celebrate excellence on Toronto stages and are the oldest and largest professional theatre, dance and opera awards program in Canada. The Dora Awards evolve constantly, adjusting and adapting to changes in the broader performing arts industry and the needs of the TAPA membership. There are currently 43 award categories across 7 distinct “divisions.”

    DART alumni took home awards for Outstanding New Play and Outstanding Performance by an Ensemble, and DART guest artists and instructors were well represented among the many nominated and winning artists. DART students saw some of these outstanding performances when attending course related-fieldtrips during the 2024-25 academic year.

    Kaitlin Race, centre with colleague  Anne van Leeuwen, directed by Cass Van Wyck.

    DART alumni honoured with Dora Awards

    In the Theatre for Young Audiences Division, DART alumnus and playwright Evan Bawtinheimer was awarded Outstanding New Play for Patty Picker (One Four One Collective in association with The Assembly Theatre), directed by alumna Cass Van Wyck ( Artistic Director of One Four One Collective, Co-Artistic Director and Managing Director of Assembly Theatre) and performed by alumna Kaitlin Race with colleague Anne van Leeuwen. This new play was also nominated for Outstanding Production, Outstanding Direction, and Outstanding Performance by an Ensemble.

    The play tells the story of Patty, a 16 year old girl who eats pizza for breakfast, loves to play chess, and has a secret. Patty’s life is turned upside-down when her secret shame becomes juicy gossip: Patty picks her nose! Patty struggles to return her life to normal, while dealing with her picky girlfriend Phoebe, problematic father Paul, and plotting revenge on that piece of crap Preston who caused the whole mess. The Canadian Play Outlet describes this as a charming coming-of-age story about bullying, tolerance, and acceptance. Subjects and themes of the play include High School, Divorce, LGBTQ Relationship, Bullying, Disability, and Mental Health. Toronto critic Paula Citron has written an enthusiastic review on ludwigvanTORONTO.com.

    Evan graduated from Brock’s DART Performance Concentration in 2014. Over the last decade he has continued to advance his craft in playwriting, attended many workshops and classes and he reads and writes almost every day. Even though he’s no longer at Brock, the learning continues!

    Evan with his DORA Award.

    Evan recently shared his insight that “Brock taught me not to take things at face value. DART 4F90 [a fourth year capstone course] taught me that a sign or symbol could express more than one idea. In my Dora Award-Winning play Patty Picker, our protagonist Patty picks her nose. But the nose-picking is more than that. It’s an expression of anxiety, identity, depression, joy. When it came to nose-picking, Brock taught me to dig deeper (pun intended).”

    He added that receiving this Dora Award has confirmed and validated the path he has taken over the years: “I developed Patty Picker with fellow DART alumni Cass Van Wyck and Kaitlin Race. DART professor Danielle Wilson also provided me with some much-appreciated feedback on an early draft of the play. I never would have imagined staying in touch with DART alumni over ten years later. I learned so much from them. I’m privileged that I’m on the same side as my DART friends.”

     

    Jasmine Case in FLEX at Crows Theatre/Obsidian Theatre. image: Elana Emer.

    In the General Theatre Division, DART alumna Jasmine Case was awarded Outstanding Performance by an Ensemble including Jewell Bowry,  Asha James, Trinity Lloyd, Shauna Thompson, and Sophia Walker for their work in FLEX  (Crow’s Theatre and Obsidian Theatre Company). This production was also awarded for Outstanding Lighting Design and nominated for Outstanding Production, Outstanding Direction, Outstanding Scenic / Projection Design, Outstanding Sound Design / Composition.

    Headshot of Jasmine Case

    Jasmine Case

    In July 2024 we featured Jasmine in an article about her success at the 2024 Dora Mavor Moore Awards, winning the award for Outstanding Performance by an Individual in the Theatre for Young Audience Division. Read more about this rising star on our news page. Jasmine was also recently featured on our Instagram channel

    Instructors and guest artists recognized for their theatre-making success

    DART instructors and visiting artists were well represented in the Dora nominations. From among the company of the new creation Last Landscape (Bad New Days in partnership with Common Boots Theatre) are Kari Pedersen, a performer/creator who has taught with DART for two years, and Director and performer Adam Paolozza who has taught with DART on multiple occasions. Their show Last Landscape was awarded for Outstanding Scenic/Projection Design and Outstanding Sound Design/Composition. The new creation was also nominated for Outstanding New Play, Outstanding Direction, Outstanding Performance by an Ensemble, Outstanding Costume Design and Outstanding Lighting Design.

    Erased (Open Heart Surgery Theatre in partnership with Theatre Passe Muraille) was nominated for Outstanding Scenic/Projection Design, Outstanding Costume Design and Outstanding Lighting Design. The choreographer of the production, Alix Sideris taught for us in 2024-25 and playwright Coleen MacPherson has done workshops with DART.

    Last Landscape and Erased were just two of the nominated and awarded productions that DART students saw for course-related fieldtrips. Other productions we saw included:

    Mahabharata: Karma (Part 1), The Life We Inherit for Outstanding Production, Outstanding New Play (Why Not Theatre presented by Canadian Stage), Miriam Fernandes awarded Outstanding Performance by an Individual and Ravi Jain awarded for Outstanding Direction, also awarded for Outstanding Sound Design/Composition; and nominated for Outstanding Performance by an Ensemble, Outstanding Scenic / Projection Design, Outstanding Costume Design and Outstanding Lighting Design. Miriam Fernandes and Ravi Jain have both visited and presented at DART.

    Rosmersholm was nominated for Outstanding Production, Outstanding Performance by an Individual and Outstanding lighting Design, There is Violence and There is Righteous Violence and There is Death or, The Born-Again Crow was nominated for Outstanding New Play, and Fat Ham was nominated for Outstanding Performance by an Individual.

    Not a DART fieldtrip for the year, special acknowledgement must be given for Aportia Chryptych: A Black Opera for Portia White received the award for Outstanding New Musical / New Opera. The librettist for this new production, HAUI, was a guest artist for our 2021 online industry panel with remarkable BIPOC Canadian Theatre Artists.

    Congratulations to all of the alumni, instructors and guest artists honoured by the Dora Awards. DART extends its congratulations to everybody who was recognized for their excellence in theatre! They are the light that shines upon our path to becoming remarkable theatre makers and audiences.


    See the article in the Brock News, published Aug 12, 2025:
    Brock grads’ play a top ‘pick’ at prestigious theatre awards

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