Articles tagged with: David Fancy

  • Brock students selected to participate in national Black theatre initiative

    Caption: Sid Malcolm (left), fourth year Dramatic Arts student with a minor in Music, and Soji Cole, second year PhD student in Interdisciplinary Humanities, are two of 21 students selected for “Seeding the Future”, a new initiative highlighting young Black voices. 

    Two Brock University students will be joining a historic group of Black theatre makers as part of the digital performance series “21 Black Futures.”

    Presented by Obsidian Theatre in partnership with CBC Arts, “21 Black Futures” has brought together 63 Black Canadian playwrights, actors and directors to create art during the pandemic and answer the question, “What is the future of Blackness?”

    The result is 21 filmed monodramas (theatre pieces featuring one person) that are currently premiering on CBC’s streaming channel, CBC Gem.

    Now, 21 students from across the country will join the movement, including fourth-year Dramatic Arts student Sid Malcolm, and Soji Cole, a second-year PhD student in Interdisciplinary Humanities.

    From a national call that attracted more than 60 applicants, Malcolm and Cole have each been awarded a spot in “Seeding the Future,” which invites Black students to create theatre pieces in response to each of the 21 monodramas of “21 Black Futures.”

    “Seeding the Future” is a partnership between Brock University, York University, Obsidian Theatre and CBC Arts, and allows students to create spoken word poetry, audio recordings, video recordings or written responses.

    “As we work at Obsidian to develop and advance Black artists across the country, we also recognize the glaring lack of Black voices in arts criticism and journalism,” said Michael Sinclair, General Manager of Obsidian Theatre. “Black and other BIPOC artists deserve to have voices at the table from their own communities engaging in dialogue about their work. We can’t wait to see what these 21 Black students have to say.”

    For Malcolm and Cole, being a part of this creative response highlighting young Black voices is very meaningful.

    Malcolm said being part of the project gives her and a large group of Black theatre students the chance to have their voices heard.

    “This is a space specifically intended to cultivate young Black artists and help them express what their experience is, and how that shapes the future of Blackness,” she said. “As a young woman of colour, it is often extremely difficult to find pieces of theatre I am able to connect with. There’s often very little representation for People of Colour within the world of theatre. Being a POC in theatre is seen as a rarity and is often trivialized.”

    Cole is excited about the project, and said it speaks to him on many fronts.

    “As a Black person, a migrant and an international student, I have been involved in conversations on the theme of Blackness and racism since I came to Canada in 2019,” he said. “This is the first one that intersects with a discipline and profession that I have identified with all my life.

    “This means a lot to me, as I have always believed that beyond the rhetoric of racism, arts — and especially theatre — can be used as twine to bind community together and dismantle the boundary of segregation.”

    The 21 student responses, including those of Malcolm and Cole, will be released in three instalments, initially on the students’ own social media channels and then re-published on the CBC Arts website. The first group of responses are now live. Malcolm’s work will be published on Monday, March 1 and Cole’s will be published on Monday, March 8.

    Cole, who is a playwright, director and actor, anticipates using his creative and critical wits to respond.

    “As someone who has a deep interest in the sociology of arts, I might want to connect my response to the social implication of the performance,” he said.

    Malcolm anticipates she may draw on specific aspects of her artistic practice.

    “I have a recent reignited passion for poetic writing,” she said. “Typically, I enjoy weaving controversial topics into my writing, which often means critiquing the way that race is perceived around me today.”

    She is also intrigued by the marriage of critical thought and artistic expression.

    “The arts are a dialogue and having Black theatre students continue the conversation begun by “21 Black Futures” is a hugely exciting prospect,” said Karen Fricker, Associate Professor of Dramatic Arts and the co-ordinator of Brock’s participation in “Seeding the Future.” “I can’t wait to see and hear how they all respond.”

    David Fancy, Chair of Dramatic Arts at Brock’s Marilyn I. Walker School of Fine and Performing Arts, said the Department is committed to “the ongoing labour of decolonization, Indigenization, and anti-racism. We are particularly pleased to be involved in such an important initiative,” he said.

    Malcolm is energized by the many conversations “Seeding the Future” ignites, noting the opportunity for discussion while fostering growth through shared experiences.

    “I think a large outcome from this project will be the amount of networking that is possible for young Black artists that would be difficult to do without this project,” she said.

    Cole acknowledges the significance and enduring nature of this project.

    “While this is not a policy project, the expectation is that it will strengthen our understanding of memory, redress, and inclusivity,” he said. “The outcome should be able to resonate with every community; it should generate a peculiar echo of its own that will resound in the heart and mind of everyone.”

    To read the entries in “Seeding the Future,” visit CBC Arts.

    To view the performances in “21 Black Futures,” visit CBC Gem.

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  • Theatre in the age of climate change the focus of virtual events

    Brock University’s Department of Dramatic Arts (DART) and the FirstOntario Performing Arts Centre (PAC) are continuing their partnership in 2021, offering online performances and virtual discussions exploring the intersection of performing arts and climate change in the Walker Cultural Leaders Series.

    Taking place from Friday, Feb. 12 to Sunday, Feb. 14, the event is convened by DART Professors David Fancy and Karen Fricker and is a continuation of a series of events presented in November 2020.

    “Following the success of our first round of collaborative events with the PAC last fall, we are looking forward to this continued focus on the relationship between performance and climate crisis,” said Fricker.

    The second part of the series includes:

    • Three commissioned performances meant to inspire conversation and critical thought
    • A live-streamed sharing by Kaha:wi Dance Theatre’s Artistic Director Santee Smith of the company’s new work in development called Skén:nen
    • A panel discussion entitled Honouring Balance in Times of Crisis and Change: Strength in Indigenous Women’s Perspectives

    Artists participating in the panel discussion include Audra Maloney, Diane Simon and Santee Smith, and Lyn Trudeau will moderate.

    “We are enthusiastic about the intersections between the Indigenous women’s panel, responses to the climate crisis, and the moves towards Indigenization and decolonization at Brock,” said Fancy.

    As part of the Walker Cultural Leaders Series, Brock commissioned 10 regional theatre artists to create short online presentations exploring the climate crisis in relation to any area of their interest.

    In this part of the series, commissioned artists explored a multitude of themes in relation to climate change including capitalism, consumerism, mental health and more. Excerpts of these works in progress will be shown, followed by a discussion.

    “Between the commissioned performances from local artists, nearly all of whom are DART graduates, and the focus on Indigenous women’s perspectives and creativity, this is going to be a memorable weekend,” Fricker said.

    “Renowned Indigenous scientist, professor and author Robin Wall Kimmerer recently said ‘People cannot see the world as a gift unless someone shows them how.’ Throughout history, artists have often been beacons to new ways of being,” said Annie Wilson, PAC’s Programming Supervisor. “We’re grateful for this opportunity to continue our collaboration with Brock’s Dramatic Arts Department to share emerging and established artistic works that centralize the climate crisis and imagine new ways forward.”

    All digital events are free and accessible for viewing on the PAC and MIWSFPA Facebook and YouTube pages until Sunday, Feb. 28.

    The full weekend program schedule includes:

    Friday, Feb. 12:
    Walker Cultural Leaders Series commissioned artists – 5 p.m.
    Kristina Ojaperv presenting “Travelling Roots”
    Trevor Copp presenting “Water, water, everywhere”
    Meryl Ochoa and Kaylyn Valdez Scott of Tethered the Ghost presenting “Bakunawa”
    Excerpts will be followed by a discussion chaired by Michelle Mohammed.

    Saturday, Feb. 13:
    Skén:nen – Prequel: On the edge of collapse – 2 p.m.
    A sharing by Kaha:wi Dance Theatre’s Artistic Director Santee Smith on the company’s new work in development, Skén:nen.
    Presented by the FirstOntario Performing Arts Centre with support from the Ontario Arts Council and Ontario Presents.

    Sunday, Feb. 14:
    Honouring Balance in Times of Crisis and Change: Strength in Indigenous Women’s Perspectives: A discussion panel – 2 p.m.
    Featuring Audra Maloney, Diane Simon and Santee Smith.
    Lyn Trudeau is moderating this panel with the generous support of the Well Earth Collaborative (WEC).

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  • Dramatic Arts rewrites script for online learning with Shaw Festival

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

    Originally published FRIDAY, OCTOBER 23, 2020 | by 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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  • Scenes from an Execution: Dramatic Arts in the era of Covid-19! opens Oct.30

    scenes from an Execution
    by HOWard Barker

    Scenes from an Execution is a genre-bending feeding frenzy of high impact theatre, art film, and social media. This production features the story of a 16th century punk feminist painter named Galactia. She outsmarts and out-arts all the other hangers-on with her ability to wield a paintbrush and her prowess with a video camera. She stores her lover in a plexiglass box, and, well, everything takes off from there… Taking place in an in-between pandemonium of dozens of separate performance spaces around the region and the world, Scenes From and Execution integrates the live and the recorded, and blood and paint, in festival of good-times-for-all that won’t be easily ignored!
    Directed by David Fancy.

    Live streamed on:
    October 30 at 7:30 PM
    October 31 at 7:30 PM
    November 01 at 2:00 PM
    November 06 at 7:30 PM
    November 07 at 7:30 PM

    Where: created at the Marilyn I. Walker Theatre, 15 Artists’ Common, St. Catharines with content from the performance spaces of students and artists in Canada and Mexico, streamed to the MIWSFPA YouTube Channel.

    Reservations to view the Scenes from an Execution performance of your choice can now be made at brocku.universitytickets.com
    There is no charge for reservations, but numbers are limited. Please book your ticket soon.

    Behind the Screen: See this student video showing how we made Scenes from an Execution,

    Program including statements of purpose from the student artists for Scenes from an Execution is available on the website or for download here

    click to open program

    CREATIVE TEAM:

    Director: David Fancy
    Associate Director: Molly Lacey*
    Set/Costume Designer: Kelly Wolf
    Assistant Designer: Wyatt Hoskins*
    Dramaturg: Asenia Hall*
    Choreographer: Trevor Copp
    Dance Captain: Marley Mahon*
    Audio Design: James Dengate*
    Stage Manager: Peter Herbert*
    Asst Stage Manager Alyssa Ruddock*

    CAST:

    Galactia – Holly Hebert*
    Carpeta – Neo Moore*
    Urgentino – Jesse Caines*
    Suffici – Jackson Wagner*
    Rivera – Heidi Nickel*
    Ostensible – Diego Blanco*
    Prodo/Third Sailor – Jarrod Vandenbogaerd*
    Sketchbook/Pastaccio – Celine Zamidar*
    Supporta – Sammie Marett*
    Dementia – Chloe Petrou*
    Sorda/Sailor – Maiya Irwin*
    Official/Gaoler – Isaiah Alton*
    Lasagna/Sailor – Marley Mahon*
    Sailor/Workman/Woman in the next cell – Thea Van Loon*

    PRODUCTION:

    Production Manager: Brian Cumberland
    Technical Director: Gavin Fearon
    Assistant TD: Sid Malcolm*
    Sound Operator: Alex Sykes*
    Head of Wardrobe: Roberta Doylend
    Wardrobe Assistant: Julian Corlett*
    Construction Head: Ed Harris
    SM Supervisor: Carolyn MacKenzie

    ( * DART student)

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  • DART 1F01: Acting for Non-Majors, now available ONLINE

    [including content from an article published in The Brock News on TUESDAY, MAY 19, 2020 | by ]

    Enliven your TikTok feed, gain the confidence of your own creativity, study acting with the Department of Dramatic Arts!

    The switch to online learning is offering Brock University’s Dramatic Arts students new ways of exploring their craft.

    download 2 portrait posters in pdf

    “We’re making some exciting changes to DART 1F01: Acting for Non-Majors,” says Professor David Fancy. “We’re using this opportunity to build a course that we can also share with students who have to work remotely in the future.”

    The course, which Fancy describes as “extreme monologuing,” is designed to help students discover the underlying principles of acting. Students will explore the actor’s process, including awareness, stimulus, impulse, intention and action. Exercises will help students become aware of their ingrained habits and develop playfulness and vitality.

    “We’ve drawn on expertise from actor trainers around the globe,” says Fancy, who has been working on a series of videos featuring professional actors being led through drama exercises. The course consists of 24 modules involving video, reading, and writing.

    Performance submissions (in the form of three separate monologues throughout the course) will be made to the teaching team by video, and there are no specific class times. You can proceed at your own pace though the course during the month-long duration (July). The instructor will be available regularly by phone or video to provide assistance as necessary.

    The course is offered online, July 2-29, 2020.  Please register before July 1, 2020

    For more information: David Fancy dfancy@brocku.ca

    download 2 landscape posters in pdf

     

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  • 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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  • 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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  • 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

  • Lecturer uses theatre to tackle social justice issues

    Director David Psalmon will travel to the Marilyn I. Walker School of Fine and Performing Arts from Mexico as the next presenter in the Walker Cultural Leader Series on Jan. 10 at 7 p.m.


    (From The Brock News, Wednesday, January 2, 2019 | By: Sarah Ackles)

    A night at the theatre can elicit fits of laughter and bring audiences to tears, but can it also serve as a tool for promoting social and political change?

    In a week of workshops and talks hosted at Brock this month, international director David Psalmon will blur the lines between actor and spectator as he explores unique performance-based problem-solving solutions to social justice issues.

    Born in France, Psalmon currently resides in Mexico where he is the director, producer, editor and founder of the multi-awarded theatre company Teatro sin Paredes (Theatre Without Walls).

    Brock Associate Professor David Fancy said Psalmon’s years of experience teaching and directingperformances around the world will make him a “rich addition to this year’s Walker Cultural Leaders Series at Brock.”

    “Psalmon is a real self-starter who moved from France to Mexico 15 years ago and now runs one of the largest theatre companies in the country,” said Fancy. “He is committed to theatre as a means of vibrant social engagement, and always takes the broadest possible view when undertaking his theatre productions.”

    Psalmon’s Theatre Without Walls project has been utilizing Augusto Boal’s Theatre of the Oppressedmethodology since 2001, with the audience and actors working together to perform scenes that tackle a diverse array of social issues such as gender violence, discrimination and racism, and workplace violence. In these workshops, the actors present a problem that needs to be solved and then work collaboratively with the audience to improvise and alter the scene to act out potential scenarios that could address the problem at hand.

    Psalmon will discuss this methodology and his experience working for theatre companies worldwide at a public lecture on Thursday, Jan. 10 at the Marilyn I. Walker School of Fine and Performing Arts. He will also spend two days leading immersive workshops for Brock Dramatic Arts students, where he will explore collaborative theatre-making practices that Fancy said will be extremely beneficial to students honing their craft.

    “Psalmon’s theatre company runs on a collective basis — meaning all members of the company create their theatre productions collaboratively — and allowing our Brock students to see the success of his power-sharing collaborative model will inspire them to create theatre in new ways,” Fancy said.

    The Walker Cultural Leaders Series brings leading artists, performers, practitioners and academics to Brock’s MIWSFPA.

    The sessions, which are generously funded by Marilyn I. Walker, celebrate professional achievement, artistic endeavour and the indelible role of culture in society.

    All of the events are free and open to both students and the broader community. The series offers unique opportunities for the public to experience the work of leading international artists and students to work closely with experts in their fields.

    David Psalmon presents: Towards a Contemporary Political Theatre
    Public lecture, Thursday, Jan. 10 at 7 p.m.
    Marilyn I. Walker Theatre, MIWSFPA

    Workshop for Dramatic Arts students:
    Saturday, Jan. 12 and Sunday, Jan. 13
    11 a.m. to 4 p.m., MIWSFPA

    Learn more about the Walker Cultural Leaders Series on the MIWSFPA Website.

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    Categories: Events, News