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

  • Humanities students partner with Falls museum on escape rooms

    Wednesday, January 18, 2017 | By

    (Source: The Brock News, Tuesday, January 17, 2017 | by . Photo: Brock University Dramatic Arts and Interactive Arts and Science students are developing two escape rooms in partnership with the Niagara Military Museum. Students are in the initial stages of the project and have been brainstorming the path the two rooms will take.)

     

    They’re planning a great escape from a 100-year-old building.

    Brock University Dramatic Arts and Interactive Arts and Science students have come together for an innovative project that in a few months will open for the public to experience.

    Throughout the winter term a group of nearly 30 students will work to create two escape rooms at the Niagara Military Museum in Niagara Falls.

    The physical adventure games, which have become increasingly popular in recent years, lock players in a room — or in this case a series of rooms — and challenge them to solve puzzles in exchange for their freedom.

    The museum’s partnership with Brock was made possible through a cultural development grant provided by the City of Niagara Falls, as well as a service-learning grant provided by the University.

    Work on the project began Jan. 10 with students touring the Victoria Avenue museum, learning its background and brainstorming the direction the escape rooms will take.

    The building, which dates back to 1917 and was used as an armoury in the First World War, has an “incredible history,” said Dramatic Arts Associate Professor Natalie Alvarez, who was the driving force behind Brock’s involvement.

    That history, which includes an “infamous escape” by Austrian spy George Heinovitch, will act as inspiration for the stories students are planning to tell through the project, she said.

    “They’re going to build an escape room that tries to uncover that history.”

    Students will be responsible for each aspect of the project, including the narrative, puzzles, costumes, props and sets.

    “We’re building it from the ground up, tapping into my students’ expertise in costume design, directing, acting and scriptwriting,” Alvarez said.

    It was also a natural fit to include Interactive Arts and Science students and their skills with interactive narrative, game structure and puzzle building.

    “Escape rooms are this interesting hybrid of different theatre traditions,” Alvarez said.

    “It’s immersive performance. It’s kind of like a living museum. It’s also tapping into site-specific theatre, where you build a theatre piece that’s intimately attached to the site itself and its own history.”

    The escape rooms will be ready for testing by an invited audience April 4.

    “The assessment is going to be entirely in the hands of those experiencing it,” Alvarez said. It will include museum personnel as well as members of Brock’s Service-Learning Resource Centre.

    Museum operators have created a rubric based on what they hoped to see accomplished through the project and students will be evaluated accordingly.

    The escape rooms will go live to the public in May at a cost of $20 per person.

    Proceeds will assist in the maintenance and continued operation of the museum.

    Students will have the opportunity to remain at the helm of the escape rooms going forward, first on a voluntary basis and then potentially in paid positions if the rooms become financially viable.

    “That’s the incentive for them to build the social media machine to advertise it and get people out to experience it,” Alvarez said, adding she’s seen “100 per cent investment” from the students involved.

    She credited Brock for investing in such an innovative approach and nurturing the University’s connection with the community.

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    Categories: Current Students, In the Media, News

  • Brock students stage fantasy epic

    Monday, November 14, 2016 | By

    (Source: Thorold Edition, Monday, November 14, 2016 | by John Law. Photo caption: Gormenghast director Mike Griffin. CREDIT: Bob Tymczyszyn/St. Catharines Standard/Postmedia Network)

    Brock University’s Dramatic Arts students are occupying the House of Groan.

    Gormenghast, based on the cult classic fantasy series by Melvyn Peake, opened at the Marilyn I. Walker School of Fine and Performing Arts Nov. 11. Long regarded as one of the great fantasy trilogies – drawing comparisons to The Lord of the Rings – it brings a sense of the epic to the theatre’s modest 150-seat theatre.

    Director Mike Griffin says students will utilize the entire space while using different theatrical styles to tell the tale of two youths who defy ancient traditions and the government motto of ‘No Change’ to wrest control of the dysfunctional House of Groan which rules the land.

    Griffin says it will push Dramatic Arts students in ways they’re not accustomed.

    “When you look at the kind of plays students often do, they’re realistic or they’re playing sort of normal characters. I really like the opportunity for a physical play.”

    As a bonus, it’s a bonafide fantasy classic rarely ever performed in Niagara. While Griffin likes to challenge students, he also wants something with box office appeal.

    “As a professor here I definitely want to be engaging the students in something that’s going to stretch them,” he says. “But you want to have people come and see it.

    “This production in particular is exciting because of the fantasy element. You don’t often get to see a fantasy production on stage.”

    With 16 cast members, the show will run until Nov. 19. Griffin, in his second year at Brock, calls them the best group he’s ever worked with.

    “We want the students to really be engaging in the work.”

    While it has never been made into a movie, Gormenghast was adapted into a four-episode BBC series in 2000 starring Christopher Lee and Jonathan Rhys Meyers. The stage version debuted in 2006.

    Written between 1949 and 1959, the books still strike some universal chords of rebellion, says Griffin. Their influence can be spotted in modern fare like The Hunger Games and A Song of Ice and Fire (Game of Thrones).

    “It looks at these youth rising to power, and going against the traditional and ancient ways of how things normally happen,” he says. “The play begins with the birth of this new earl, and then everything starts to crumble.”

    jlaw@postmedia.com

    • WHAT: Gormenghast
    • WHERE: Marilyn I. Walker Theatre; 15 Artists’ Common; St. Catharines
    • WHEN: Nov. 11 to 19
    • TICKETS: $18 adults; $15 students/seniors. www.firstontariopac.ca or 905-688-0722

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    Categories: In the Media, News

  • Gormenghast: An interview with Director Mike Griffin, and actors Jonah McGrath, Candice Burn and Caroline Coon

    Tuesday, November 08, 2016 | By

    (Source: The Brock Press, Tuesday, November 8, 2016 | by Shannon Parr) 

    davidvivianBrock University’s Department of Dramatic Arts is putting on Gormenghast this week, a play deemed “haunting and hilarious” by its director, Professor M. Griffin. I was able to sit down with him and some other members of the cast to ask a few questions about the “grotesque” production.

    Q: You’ve commented that this play is haunting and hilarious — why?

    Mike Griffin; Director

    Griffin: One of the things that this play really brings together is a number of different styles. On one hand you’ve got comedy and some really over the top characters, but within the gothic nature of the play there are a lot of dark things that are happening. There’s a lot of murder and a lot of horrific events. So, we’ve really tried to embrace that, through the blending of these different styles. One of the things we have been researching on is the style of Grand Guignol, which is the theatre of horror. We’ve been looking at the moments of violence in the play and looking at how we can do that stylistically versus realistically, because the show is an elevated style.

    We’re looking at melodrama and physical theatre, and a collage of different styles of theatre. When I say something is elevated or heightened style, I mean that it is something larger than life and bigger than realism, different than how we interact normally today.

    Q: Physical theatre?

    Griffin: Most of my research as a professor is in styles of physical theatre and mask, and so a lot of the work that we’re doing is stemming from my research. There are elements of gesture and ritual, and looking at characters that have bigger physicalities. We’re not necessarily normal humans in this play. Everyone’s quirky and different, so when we started to explore the physical nature of this play we started looking through different inspirations so we can look at what motivates or where this character comes from in a physical basis. Everyone walks and stands in a different way.

    Q: How does this play explore physical theatre?

    Griffin: This play overall has a lot of challenges. It’s a very epic play and it all takes place in a castle, and there are towers and motes, and when we start to add things like cats and ravens then we’ve got to ask the question, ‘how do we do that?’

    Rather than making the choice of actors playing cats or ravens, we decided we wanted to do it with puppets. Our puppets are really fantastic, they’re created by a puppeteer in Calgary named Juanita Dawn and the Long Grass puppet studio.

    This is a distorted, grotesque and strange world. Things are distorted and there are a lot of connections to animals and humans. One of the explorations that we did to find the physical characterization is looking at what your character might be as an animal and evolving a physicalization out of that.

    Q: Why Gormenghast?

    Griffin: For me, it’s been a play that I’ve been interested in for a long time. I wanted to do something a bit darker, a bit stranger, and so when I was deciding on what show I wanted to do with these particular students, I wanted to do something that was going to push them out of their normal bodies, something that was big in characterization, big in physicalization, and so this sort of just came up as the play that I think would really challenge them. I felt it would also give them an opportunity to learn about techniques of physical theatre and different styles of theatre, too.

    It’s really rare to see this kind of a production on stage; professional theatre companies don’t often do this kind of thing. First of all, it’s a large cast. We’ve got a cast of 16 and a lot of theatre companies don’t necessarily have a mandate that would fit the fantasy of this kind of play. What better place to do it than in a university setting? Especially when we look at things like the popular TV — Game of Thrones and all these kind of fantasy worlds that are created. There’s such a huge interest in that. For me, I love Game of Thrones and I love Lord of the Rings, and I love the works of Tim Burton.

     Jonah McGrath as Steerpike

    Q: What is your role in Gormenghast?

    McGrath: I am playing the role of Steerpike. He begins his journey in Gormenghast as a lowly kitchen servant, but he has aspirations to become more. Through his Machiavellian way of approaching conversations and interactions with the various people of Gormenghast, he’s trying to claw his way up the social ladder.

    Q: What was your process like?

    McGrath: We began over the course of the summer. We wouldn’t take the more conventional way of memorizing something and just sitting and reading it; it was recommended that we do it while we’re doing everyday errands, activities like washing the dishes — just repeating lines and getting them into our body. We took a very physical approach in tackling this play. We began with a three day physical workshop; a rigorous experimentation where we played around with many different styles. We looked at our characters through the lenses of different animals and did some cast and ensemble-building exercises.

    Q: For one of your exercises I hear you all had to bring in pictures that you felt related to your character. What did you bring in?

    McGrath: I brought in a picture of fog setting on a dead forest. I did that because I think Steerpike is a new presence in Gormenghast and is very otherworldly. He comes upon this old place that is bound by ritual and is so firmly held within tradition, and he completely changes the atmosphere.

    Q: Do you like your character?

    McGrath: I love my character. He’s so much fun to play. He’s a real challenge because I find there are so many different faces to Steerpike depending on who he’s talking to. He’s got a lot of layers to him. As much as we’re pushing the melodrama of it all, there’s also a very three-dimensional layer which we’re experimenting with in regards to everybody’s character. I’ve discovered a lot about him and I’ve really grown to love him. I’m sure for some people it would be more of a love-to-hate kind of thing, but I love Steerpike. I think he is so sharp and so quick, and ambitious, that it really is unparalleled. In this world I think he has such a way of working people. A master manipulator.

    Q: Why is this play seen as grotesque and haunting?

    McGrath: In a very goosebumps kind of way, there are a lot of unsettling moments. We’re trying to gross you out a little bit. It’s not completely different than horror film or imagery; we really draw on that in the show. We want people to, at times, feel uncomfortable.

    In regards to the physicality, everybody’s character is over the top and unrecognizable if we’re looking at them in regards to our world. In Gormenghast, everything is huge, everything is over the top and anything goes.

    Candice Burn and Caroline Coon as twins Cora and Clarice

    Q: What are your roles in the play?

    Burn: I play Cora and she’s one of the twins of Sepulchrave. She and her sister have been isolated from everyone. Our back story is that they were actually sick with a disease and they were separated so they would’t cause each other to become more sick. Then, when it seemed all hope was lost, they brought them together again and our characters eventually got better. That’s why we always stick together. We feel like we are one body. Our movement reflects that; our thought process allows us to move to one side and then the other, in synchronicity.

    Coon: I play Clarice. We are the younger twin sisters of Sepulchrave, who is the Earl of Gormenghast. They’ve been isolated and so they’ve always felt like they were on the outskirts of everything. In the play, you’re going to see them using Steerpike to try and climb to power, and regain the place they feel they should be. While they’re trying to use Steerpike, Steerpike is also trying to use them.

    Q: You move in unison – what was that process like?

    Coon: Every head move, every look and every step is choreographed. That was really difficult — it took a lot of going over to make sure we were on the same page for each movement we made. We can’t even turn our head without the other one doing it.

    Burn: It’s a very collaborative process. We went through our lines with what our intentions were, and how we found each other moving naturally when we said our lines. We fed off of each other and choreographed those movements. In perspective of who else is in the scene, it’s very heavily influenced by the blocking of other people. We follow Steerpike in many scenes, which really shows how he manipulates us and has that control over us.

    Coon: We practiced a lot in front of the mirror to get it right, and to make sure that we were walking symmetrically.

    Burn: It took us a while to figure out our walk. We used those intensive and research days on what kind of animal physicality we see in our characters, and we found a combination of bird and cat movements. We definitely use that in our head movements — the characters are even described as bird brains. People perceive them to be mad or not all there.

    Q: So, who is really using who? Do you feel that your characters are aware of what’s going on?

    Burn: I don’t think they feel like they’re using Steerpike. I think they actually trust him because he made such a large gesture towards them and no one else has. The characters are almost in shock — they’re surprised that someone wants to help them at all. He gains their trust and gives them all these promises, and they don’t have anyone else other than each other. The twins don’t manipulate Steerpike the way he does to them.

    Coon: I looked at the analogy of the frog in boiling water. Steerpike as a character is very good at manipulating people and I think they brought their walls down for him because no one has reached out to them in so long or shown them any type of respect. They really latch onto that. He uses their trust and molds them into what he needs them to be.

    Q: Why do you feel the play is seen as grotesque?

    Coon: There are physicalities and events that happen on stage that are unsettling. There is definitely some gore in this show. There are some props and moments that make even us uncomfortable.

    Burn: Even the soundtrack of the show. There are things that, every time in rehearsal, we just can’t listen to. It wakes up your senses and makes you go to an uncomfortable place. That’s what makes it grotesque, in a way.

    Coon: The world is so out of anything in this realm. We use the term “Gormenghasty”. The end result is stuff that you’ve never seen before, which is why we’re really excited about performing this.

    Gormenghast is being performed at the Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts, 15 Artists’ Common, St. Catharines. The performances take place on November 11, 12, 18 and 19 at 7:30 p.m., Nov. 13 at 2:00 p.m. and Nov. 18 at 11:30 p.m.

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  • Gormenghast

    Monday, November 07, 2016 | By

    Gormenghast logo

    DART Performances in 2016-17

    Our second season in the new Marilyn I. Walker Theatre at 15 Artists’ Common!

     

    Presented by the Department of Dramatic Arts, Brock University

    Gormenghast

    by Mervyn Peake. Stage adaptation by John Constable.

    Directed by MIKE GRIFFIN, Assisted by SYDNEY FRANCOLINI
    Designed by DAVID VIVIAN
    Lighting Design by JENNIFER JIMENEZ
    Sound Design by MAX HOLTEN-ANDERSEN

    When:
    November 11-19, 2016
    FRIDAY, NOV. 11 & SATURDAY, NOV. 12 at 7:30 pm
    SUNDAY, NOV. 13 at 2:00 pm
    FRIDAY, NOV. 18 at 11:30 am & 7:30 pm
    SATURDAY, NOV. 19 at 7:30 pm

    Location: 
    Marilyn I. Walker Theatre, Marilyn I. Walker School of Fine and Performing Arts, 15 Artists’ Common, St. Catharines

    Cost:
    Tickets: $18† adults; $15† seniors/students; $5† eyeGo program; $12† groups (10+)
    †Applicable fees and taxes are extra.

    Evil is afoot in the Gormenghast castle! Come and join us in this labyrinth of dark corridors, where the bizarre and mysterious come to life. Gormenghast is a haunting and hilarious tale of the dysfunctional house of Groan, adapted from the UK cult classic fantasy trilogy written by Mervyn Peake.In a world bound by iron laws, where ancient ritual and order reigns supreme and the governing motto is “No Change!”, two youth rise up to shake the castle walls: Titus Groan, the rebellious seventy-seventh Earl and heir to the decaying castle, and Steerpike, a conniving kitchen boy, determined to rise above his lowly position to control the House of Groan.The Guardian wrote about John Constable’s adaptation of Gormenghast, “A gloriously impossible realisation of Mervyn Peake’s soaring flight of fancy.”

    “The play has a huge appeal to those with taste for very dark humour…not for the faint of heart.” (The BBC)

    see the calendar listing for more information.

     

    Teaser

    Check out this sneak “Peake” of Gormenghast – a haunting and hilarious tale adapted from the fantasy trilogy written by Mervyn Peake.

    The play runs Nov. 11 – 19 in the Marilyn I. Walker Theatre at 15 Artists’ Common, St. Catharines, ON.

    Buy tickets here: http://bit.ly/2fwuqdE

    Teachers and faculty should read this letter about group bookings and discounts.

    Study Guide

    This is a Study Guide to inform and enhance your appreciation of our production of Gormenghast by Mervyn Peake, with stage adaptation by John Constable. The production is directed by Mike Griffin, faculty at the Marilyn I. Walker School of Fine and Performing Arts. The Study Guide was prepared by the Assistant Director, Sydney Francolini.

    The Study Guide provides information about considerations regarding Direction, Design, Style, Puppetry, and Gender.

    The authors of the Study Guide do not own the visual content found on the web and are using it here for educational and learning purposes.  Please contact us if you wish to have any material removed.

    Contact and Media inquiries:
    Marilyn I. Walker School of Fine and Performing Arts
    905.688.5550, x4765 or e-mail: mbalsom@brocku.ca

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

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    Categories: Events, Plays

  • Plan your future now!

    Wednesday, October 19, 2016 | By

    Ontario Universities’ Fair is September 23-25, 2016

    Plan your future now! If you’re thinking about attending Brock University and any of the four programs of the Marilyn I. Walker School of Fine and Performing Arts, don’t miss the Ontario Universities’ Fair!

    The OUF is September 23-25, 2016, at the Metro Toronto Convention Centre and admission is free.

    You can talk personally with students, professors and senior university reps, get answers about programs, admission requirements, student life and much more. Don’t miss out on the largest educational fair in Canada!

    https://www.facebook.com/events/187862678234277/

    http://www.ouf.ca/

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    Categories: Future students, News

  • Reflective Practice & Book Launch

    Wednesday, October 19, 2016 | By

    Join us to celebrate the launch of three new books that focus on the role of reflection for professional development, research and teaching. Meet co-editors Joe Norris, Dramatic Arts, Brock University, Rick Sawyer, Education, Washington State University, Vancouver and Hilary Brown, Faculty of Education, Brock University for discussion and Q & A.

    Registration is now closed

    Questions? cpi@brocku.ca or 905.688.5550 x3933

    Open to the Brock University community.

    Reflective Practice with Colleagues and Students: Collaborative Approaches
    Tuesday October 18
    12:00 pm-1:00 pm
    TH 253

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    Categories: Announcements, Faculty & Instructors, News

  • Fefu and Her Friends: DART 4F56 Ensemble

    Wednesday, October 12, 2016 | By

    fefu-poster-finalBrock University
    Media Release

    September 29, 2016
    Marilyn I. Walker School of Fine and Performing Arts
    905.688.5550, x4765

    Hedda Gabler meets Bridesmaids in Maria Irene Fornes’ play, “Fefu and Her Friends”

     

    Read more

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    Categories: Events, Plays

  • The Ash Mouth Man leaves audience with a bitter reality in comedic form

    Tuesday, September 20, 2016 | By

    Stolen Theatre Collective’s Ash Mouth Man – stolentheatrecollective.ca

    (Source: The Brock Press, Tuesday, September 20, 2016 | by Kat Powell)

    The Ash Mouth Man, a brand new original play written by Brock Dramatic Arts (DART) faculty and Stolen Theatre Collective’s (STC) Gillian Raby and Danielle Wilson, opened Thursday September 15 at the Marilyn I. Walker Theatre in partnership with the FirstOntario Performing Arts Centre. Prior to any acting, those attending are participants in the experience of the show; the Ash Mouth Man brings audiences into an interactive and “up close and personal” space; audience members are asked to contribute names, landmarks, and interact with objects from the start. The show, inspired by the short story Dead Sea Fruits by Australian author Kaaron Warren, takes audiences back to the 1950s where we find Lorna (played by Danielle Wilson), a progressive female dentist who works almost exclusively on Pretty Girl Street ‘where the girls don’t eat’.

    Throughout the show, we see Lorna undergo somewhat of a transformation. Her equal-parts blissful and frustrating marriage to Harry (played by STC co-founder and co-artistic director Fede Holten) acts as somewhat of a catalyst to her vulnerability. We observe as Lorna struggles with self-doubt, trust and her worth. We watch as Lorna changes from someone who takes pity on the ‘Pretty Girls’ (played by Colin B. Anthes and Sean Aileen McLelland) whose teeth are falling out from malnourishment and have delusional dreams of a mythical (or so we think) figure called the Ash Mouth Man, to one who puts herself on the same level as them.

    One can definitely appreciate the production’s set design and interactive and captivating style, and applaud the fairly seamless application of the dark comedic style to somewhat of a heavy underlying topic. This show without a doubt leaves audiences with something to think about. Nearing the end of the show, audiences are left with a ‘story’ to bring home to their families and their friends. The Ash Mouth Man is not just a show, but a conversation starter.

    The Ash Mouth Man is currently playing at the Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts until September 25. Tickets are available through the FirstOntario Performing Arts Centre Box Office online, in person, or by phone at (905) 688-0722.

     

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    Categories: Faculty & Instructors, In the Media, News

  • Stolen Theatre back on the scene

    Thursday, September 15, 2016 | By

    (Source: Niagara Falls Review, Wednesday, September 14, 2016 | by John Law. Photo caption: Danielle Wilson co-wrote and stars in Stolen Theatre Collective’s The Ash Mouth Man, opening Sept. 15. PHOTO: John Law /Postmedia network)

    It took four years for Niagara’s Stolen Theatre Collective to return to the scene last year. Co-founder Danielle Wilson wasn’t going to let another four years slip by before doing another show.

    The small, immersive company is back Sept. 15 with a brand new play written by Wilson and director Gyllian Raby, the “film noir comedy” The Ash Mouth Man. Nine shows are scheduled for the Marilyn I. Walker School of Fine & Performing Arts, and as always, things will get intimate. At just 48 seats per performance, it’ll feel like an up close and personal play.

    It’s a style Wilson loves – the company’s previous show, Harold Pinter’s The Dumb Waiter, was limited to just 28 seats.

    “We really enjoy playing with the atmosphere of a piece, and giving the audience a different experience,” she says. “It’s hard to disengage when you’re that (close). It gives you a much more visceral experience when you’re that close.”

    Wilson, a teacher with Brock University’s Department of Dramatic Arts, and husband Fede Holten – a playwright and Niagara winemaker – formed Stolen Theatre Collective in 2007 as a way to do original and unique material in different ways. They managed three shows in four years before tight schedules forced the four-year layoff.

    “We were super happy to be back,” says Wilson. “We had great attendance for the show (and) got a lot of good press. A lot of people didn’t know who we were, and I felt we put (ourselves) back in people’s minds.
    “We’re all so busy, we all have other jobs and things to do.”

    The Ash Mouth Man is a blending of two short stories Wilson and Raby wrote separately. Once combined, it formed an odd, comical tale about a female dentist named Lorna in the ’50s – Canada’s 31st female dentist, to be precise – who works in a ward for people with disorders. The patients share an urban legend about a figure named the ‘Ash Mouth Man,’ whose kiss will make everything taste like ashes afterwards.

    “It took us awhile to figure out, what is the genre? We’re dabbling in aspects of film noir but there’s also a lightness to it.”

    The show stars Walker, Holten, Colin Bruce Anthes and Sean McClelland.

    Opening a regular show is hard enough – for Wilson, staging and starring in her own play is next level stress.

    “It definitely feels like a bigger risk,” she says. “We’re putting our own work out there that nobody’s seen before, and we don’t know how it’s going to be received.”

    jlaw@postmedia.com

    • WHAT: The Ash Mouth Man
    • WHO: Stolen Theatre Collective
    • WHERE: Marilyn I. Walker Theatre; 15 Artists’ Common; St. Catharines
    • WHEN: Sept. 15 to 25
    • TICKETS: $20; student/seniors/arts worker $15  www.firstontariopac.ca

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    Categories: Faculty & Instructors, In the Media, News

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