Articles tagged with: Danielle Wilson

Voice Work the focus of special edition Canadian Theatre Review

Monday, May 06, 2024 | By gminaker

Dramatic Arts Associate Professor Danielle Wilson’s interest in voice work began with her very first voice class when she began her theatre education. The actor quickly realized how her voice was tied to her identity, and how much power it could have.

Through her professional practice and creative research, Wilson now aims to broaden the definition of what voice work is and highlight its profound impact on theatre practice.

Wilson recently co-curated and co-edited a special edition of the Canadian Theatre Review (CTR) dedicated to voice work.

The special edition investigates voice work within a broad context expanding on the notion that voice work is solely a skills-based subject for performers.

“Many people may think that voice work is only about projecting your voice, enunciating, and performing accents. While those are fundamental elements, I wanted to look beyond the basics and explore what ‘voice work’ means in all its complexity. The work goes beyond what we sound like when we speak”, Wilson says.

There are eleven articles in the issue which delve into the ways that voice work intersects with other areas and disciplines such as social justice, cultural and gender identity, feminist philosophy, and performance practice.

Wilson found it fascinating, and at times challenging, to curate and edit an issue about a discipline so tied to sound and physical presence.

As part of the issue, Wilson interviewed three prominent voice coaches at the Stratford Festival — the only theatre company in Canada with a dedicated team of voice professionals — to illuminate what a voice coach does and help expand the common understanding of voice work.

Another contributor, Jane MacFarlane, explores how theatre-based vocal practice can help people support their gender identity. MacFarlane offers gender affirming voice classes through a transgender support organization in Calgary.

Peruvian-born scholar Nae Hanashiro Ávila discusses voice work and performance through a social justice lens and how it can provide a platform for women’s voices to be heard in the public sphere.

“At the root of voice work is self-expression by helping people embrace who they are. It’s not about developing a brand-new voice but about expanding and deepening your relationship with your voice and all that it can do”, Wilson says.

“One of my mentors, voice teacher Richard Armstrong, said, ‘If you work on your voice, you work on yourself’. That has always resonated with me.”

Wilson is also helping to organize and host the inaugural conference for the newly formed National Voice Association which will take place at the Marilyn I. Walker School of Fine and Performing Arts from June 8-9^th.

The CTR special edition is now available on the Canadian Theatre Review website.

Tags: Danielle Wilson, DART Critics, dramatic arts
Categories: Department/Centre News, Events, Faculty & Instructors, News, Uncategorised
Voice exploration workshop to be hosted at downtown arts school

Friday, October 21, 2022 | By ckim2

Diane Roberts is the founder of the Arrivals Personal Legacy Process, which draws on 30 years of experience and 12 years of focused artistic research.

Originally published in The Brock News | WEDNESDAY, OCTOBER 19, 2022 | by Charles Kim

A new workshop this winter will help participants develop a deeper understanding of and stronger relationship with their voice.

Breathing New Legacies Forward, a Moving Voice Institute intensive, will be hosted Thursday, Dec. 15 to Sunday, Dec. 18 at Brock University’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) in downtown St. Catharines. Led by industry specialists Gayle Murphy, Diane Roberts, Gary Logan and Gerry Trentham, Founder and Artistic Director of Pounds Per Square Inch Performance (lbs/sq”), the four-day workshop explores transformative vocal and physical explorations that extend range and deepen presence.

“It’s a process that is different for everyone,” says Department of Dramatic Arts Associate Professor Danielle Wilson. “There is a connection between the voice, breath and body that the Moving Voice Institute researches. We are excited to have them come to the MIWSFPA this winter and lead this exploratory retreat devoted to the voice.”

Through the course of this workshop, participants will examine and experience the connections between voice, text and breath in the morning sessions. In the afternoon, participants will work alongside Roberts, an African-Caribbean Canadian theatre practitioner and educator.

Roberts is the founder of the Arrivals Personal Legacy Process, which draws on 30 years of experience and 12 years of focused artistic research. This work invites participants to consider ancestry as an essential aspect of evolving authority in their voice and body presence.

Wilson expressed a deep interest in the process because of the strong ties to her personal research in voice and performance.

“I wanted to experience the Arrivals Legacy work. Participating in the process is essential because voice work is a somatic practice. Experiencing the work is the research,” Wilson says. “We all have a relationship with our voice and this intensive gives participants an opportunity to deepen their relationship with their voice and own their unique sound, regardless of what they do professionally.”

Breathing New Legacies Forward will be the first voice workshop since before the COVID-19 pandemic.

Wilson says being connected and in the same room as those who are exploring, hearing and finding their voice is truly special. She encourages anyone interested to take this opportunity to discover a deeper connection with their voice.

This workshop is open to all Brock community members and the public. More information can be found on the lbs/sq” website. Registration is now open, with early bird registration closing on Tuesday, Nov. 1.

Tags: breathing new legacies forward, Danielle Wilson, dart, Department of Dramatic Arts, diane roberts, Downtown campus, gary logan, gayle murphy, gerry trentham, Marilyn I. Walker School of Fine and Performing Arts, miwsfpa, moving voice institute, pounds per square inch, vocal, voice intensive
Categories: Alumni, Announcements, Current Students, Department/Centre News, Events, Faculty & Instructors, Future Students, News
Brock alumni, faculty take spotlight at Hamilton Fringe

Tuesday, August 09, 2022 | By ckim2

Rebekka Gondosh (right) worked with Spark Intensive participants during their rehearsals for their Hamilton Fringe Performance. (Photo Courtesy of Joginder Singh)

Originally published in The Brock News | TUESDAY, AUG. 9, 2022 | by Charles Kim

When the Hamilton Fringe Festival got underway last month, Brock alumni and faculty not only shared their talent on stage, but also used their knowledge to inspire the next generation of performers.

Among the artists who participated in the theatre festival, which returned July 21 to 30 after a two-year pandemic hiatus, were Department of Dramatic Arts (DART) alumni Rebekka Gondosch (BA ’12), Diego Blanco (BA ’21), Holly Hebert (BA ’21) and Asenia Lyall (BA ’22), as well as DART Associate Professors Gyllian Raby and Danielle Wilson.

A high school Dramatic Arts and English teacher with the Hamilton-Wentworth District School Board, Gondosch led the festival’s Spark Teen Intensive — a performance program for youth ages 13 to 18 living or studying in Hamilton.

Through Spark, participants learn practical devising skills, work with local guest artists in a variety of disciplines such as movement, poetry, storytelling, theatre and music, and create an original performance piece that is performed during Hamilton Fringe.

In addition to teaching for the past six years, Gondosch has been busy working with Passing Through Theatre and Light Echo Theatre, sharing her poetry as part of Suitcase in Point’s In the Soil Festival and creating works of her own. She recognizes the growing need for arts and performance programs in youth education and is doing what she can to help nurture the arts locally.

Brock University Dramatic Arts Associate Professor Danielle Wilson performed in the production Stage Fright as part of Hamilton Fringe Festival.

“A hope I have for the Spark program is that it might encourage young emerging artists to continue making art in Hamilton,” she says.

Meanwhile, fellow Brock alumni Blanco, Hebert and Lyall produced an original one-act play, Thy Name is Woman, at Hamilton Fringe through their new self-producing company, Into The Abyss Theatre.

“Several of DART’s upper-year classes provide students with devising and production skills, as well as encouragement to go out and voice their ideas,” says Raby. “We are proud to see these fine artists making their mark.”

Also taking part in the Fringe Festivities was Raby, who partnered with Wilson on a new production of their own, Stage Fright. The dynamic duo looked to trigger and assuage performers’ worst fears while getting in a few laughs along the way.

Stage Fright was built on playwright Wilson’s experiences through the COVID-19 pandemic, including attachment to technology, social media consumption and her newfound interest in the art of clown.

Wilson makes it a point to indicate that clown goes beyond the archetype popularized by circus.

“Clown is a state of creative play and a state of connection with the audience. You don’t know what the clown is going to do next — the clown comes from the person who is performing. It’s a state of openness to failure,” she says.

Raby assisted Wilson with dramaturgy and direction, dissecting and exploring the multi-faceted elements of stage fright — a condition of psycho-physical paralysis experienced by most people.

“Death, taxes and speaking in public are top fears,” Raby says.

Wilson adds the little-known fact that since many performers are introverts, they are even more deeply affected by stage fright.

“I was eager to get back on stage, since 2018 was my last performance,” Wilson says. “It’s important to stay in touch with all that it takes to perform, along with the fear that it takes.”

Reflecting on the the existential humour of the show, Raby says: “How can something so terrifying, and so intellectually fascinating, be so light and funny?”

Tags: alumni, Asenia Lyall, Danielle Wilson, dart, Diego Blanco, dramatic arts, gyllian raby, Hamilton fringe, hft, holly hebert, humanities, into the abyss theatre, marilyin I. walker school of fine and performing arts, miwsfpa, rebekka gondosch, thy name is woman
Categories: Alumni, Announcements, Current Students, Events, Faculty & Instructors, Future Students, In the Media, News
Student-run podcast provides guidance, inspiration for future artists

Tuesday, April 12, 2022 | By gminaker

The Marilyn I. Walker School of Fine and Performing Arts in downtown St. Catharines is home to the student-run podcast, Dear Marilyn, named in honour of the late textile artist and philanthropist.

Originally published in The Brock News | TUESDAY, APRIL 12, 2022 | by Gillian Minaker

What started as a passion project for two Brock University students in search of career tips has become a robust podcast series providing invaluable insight to the next generation of creators.

Produced for students by students, the popular podcast Dear Marilyn is now in its second season of connecting the student community with professional artists, with plans to continue production on an ongoing basis.

Created in 2021 by Dramatic Arts (DART) students Danielle Letourneau and Luca D’Amico, the podcast name honours celebrated textile artist, philanthropist and arts advocate Marilyn I. Walker. In 2008, Walker made a historic donation to Brock that led to the creation of the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA).

Letourneau, the podcast’s producer who is now in her fourth year of study with a concentration in Drama and Education and minor in History, says that she has often felt anxiety about entering theatre as a profession.

“I started this podcast to give students like myself a resource for practical job advice,” Letourneau said. “The arts industry is not always considered the most conventional career path, but we do it because this is what we love; the arts nurture our souls.”

Supported by Dean Carol Merriam of the Faculty of Humanities through the Dean’s Discretionary Fund in 2021, the Associate Dean of Fine and Performing Arts and MIWSFPA department Chairs, the Dear Marilyn team invites local and surrounding artists from a range of artistic disciplines to share their stories.

Co-hosts Hayley Bando, a second-year Dramatic Arts major with a concentration in Production and Design, and Chloe Racho, a third-year Music major with a minor in French Studies, are thrilled to be part of the project.

“We are honoured to help bring these diverse perspectives about professional journeys in the arts to the Brock community,” Bando said.

Recent podcast guests include actor, writer and producer Thet Win, voice actor Keegan Vaillancourt and singer-songwriter Glenn Marais.

MIWSFPA faculty have been supportive since day one, with Karen Fricker, Associate Professor of Dramatic Arts, championing the podcast idea in its early stages.

“I was happy to support Dear Marilyn initially because it’s a great idea, and a positive student-led project during the hard time of the pandemic,” she said. “I looked forward to each episode and was entertained and educated by the hosts’ sparky exchanges with guests.”

DART Associate Professor Gyllian Raby guided the grant proposal for Dear Marilyn resulting in the expansion of the podcast to include all four departments at the downtown arts campus (Dramatic Arts, Music, Visual Arts and Centre for Studies in Arts and Culture).

“What’s not to like about Dear Marilyn? It relates directly to our mission to create experiential, professionalized learning for students producing, hosting, editing and broadcasting,” Raby said. “And, it’s entertaining and insightful.”

DART Associate Professor Danielle Wilson has been working with the team on the second season. Episodes are edited by Alex Sykes, a fourth-year DART student with a concentration in Production and Design.

Available on Spotify, the next episode goes live this week. For the latest news, follow Dear Marilyn on Instagram.

Tags: Alex Sykes, Carol Merriam, Chloe Racho, community engagement, Danielle Letourneau, Danielle Wilson, Dean's Discretionary Fund, Dear Marilyn, Glenn Marais, gyllian raby, Hayley Bando, humanities, Karen Fricker, Keegan Vaillancourt, Luca D'Amico, marilyn i. walker, Marilyn I. Walker School of Fine and Performing Arts, miwsfpa, podcast, Thet Win
Categories: Announcements, Current Students, Department/Centre News, Faculty & Instructors, Future Students, News, Uncategorised
Re-imagining power relations in Canadian theatre: A special Walker Cultural Leader event!

Wednesday, November 06, 2019 | By dvivian

(published WEDNESDAY, NOVEMBER 06, 2019 | by The Brock News )

Equity, diversity, inclusion.

We’re hearing these words more and more, as Canadian universities and other institutions strive to address historic, systemic biases and structural inequities. For the award-winning theatre director Ravi Jain, however, the language of “EDI” is already shopworn.

“I’m not interested in using those words anymore,” said Jain, Artistic Director of the Toronto-based company Why Not Theatre. “You either do it or you don’t, and how you do it demonstrates to me how invested you actually are in the conversation.”

For Jain, concepts such as innovation and leadership are much more interesting. He’ll be covering these topics in a keynote address, “Alternative Visions of Existence,” that he’s delivering as part of a series of events taking place from Nov. 9 to 10, co-sponsored by Brock’s Walker Cultural Leaders Series and the St. Catharines-based theatre company Suitcase in Point.

The events also include a staged reading of Pipeline, a 2017 play by Dominique Morisseau, the title of which refers to the widespread perception of a school-to-prison pipeline for young African American men. It’s the story of a black teacher’s struggle to protect her son, Omari, after he assaults his high school teacher for aggressively singling him out to answer why a book character behaved like an “animal” and murdered a woman.

Toronto-based actor, director and producer Lisa Karen Cox is directing a cast largely made up of seasoned and emerging professional actors, with Brock students also participating onstage and behind the scenes. Of the six-person cast, five are people of colour. Jain’s keynote runs from 3 to 4 p.m. on Saturday, Nov. 9, with the Pipeline reading from 4 to 5:15 p.m., followed by a Q&A session.

The events, being presented under the title “Pipeline to a Better Way,” are spearheaded by Department of Dramatic Arts (DART) Assistant Professor Danielle Wilson and Suitcase in Point’s Outreach Coordinator Marcel Stewart, a 2007 DART graduate.

“The Marilyn I. Walker School of Fine and Performing Arts is a place of both learning and artistic creation,” said Wilson. “I felt the play was a perfect fit as part of the Walker Cultural Leaders Series.”

Suitcase in Point’s “Pipeline to a Better Way” programming on Nov. 9 includes a forum and panel discussion around questions of power, privilege, race and theatre in Niagara.

The Brock-based events on Sunday, Nov. 10 are free of charge, but tickets are required and can be found online. Information about the Suitcase in Point events on Saturday, Nov. 9 can be found at suitcaseinpoint.com

This article was written by Karen Fricker, Associate Professor in the Marilyn I. Walker School of Fine and Performing Arts.

Tags: alumni, alumnus, Danielle Wilson, Lisa Karen Cox, marcel stewart, Pipeline, Ravi Jain, theatre, Walker Cultural Leader Series
Categories: Alumni, Department/Centre News, Events, Faculty & Instructors, In the Media, Uncategorised, Walker Cultural Leader Series
Dramatic Arts grad gets rave reviews in Soulpepper’s The Brothers Size

Friday, May 31, 2019 | By sackles

Brock Dramatic Arts alumnus Marcel Stewart (BA ’07), centre, plays the role of Elegba in the Soulpepper production of The Brothers Size alongside Daren A. Herbert, left, and Mazin Elsadig. Photo by: Cylla von Tiedemann, courtesy of Soulpepper.

The reviews are in, and Brock Dramatic Arts alumnus Marcel Stewart (BA ’07) is earning praise for his performance in what the Toronto Star calls a “stunning Canadian premiere.”

Stewart stars as Elegba in The Brothers Size, the newest offering from Toronto-based production house Soulpepper.

He describes the experience as a “whirlwind,” especially after Toronto-based rapper Drake made a surprise appearance at the May 10 opening night performance.

Brock Dramatic Arts alumnus Marcel Stewart (BA ’07), second from right, and his castmates from The Brothers Size got a surprise visit from rapper Drake, third from right, at the opening night performance of the Toronto show.

“It has been amazing; it’s such a gift to do something like this,” Stewart said. “Through my whole journey as an actor, I have wanted to work on a play that speaks to my experience, one that I can easily dive into, and this text was so comfortable it was like putting on a jacket that was made for me.”

The Brothers Size is the second play in the Brothers/Sisters series, written by Oscar-winning screenwriter and Tony Award-nominated playwright Tarell Alvin McCraney.

Set in a fictional town in Louisiana, it tells the story of two brothers, Ogun and Oshoosi, who find themselves living together after Oshoosi’s release from prison.

Stewart plays Oshoosi’s best friend, who formed a bond with him during their incarceration together.

“I think on a micro level, Brothers Size is about the experience of black men today in the world,” Stewart said. “But on the macro level, what the characters go through are things that all people experience: grief, trauma and searching for a sense of belonging.”

Stewart’s performance marks his return to the Soulpepper stage, where he has previously performed three times and was a member of the Soulpepper Academy.

Some of his other credits include the role of Miles in The Drawer Boy at Prince Edward County’s Festival Players, Coutts in the Mirvish Theatre Production of King Charles III in Toronto, and roles on popular Canadian television series’ Kim’s Convenience and Murdoch Mysteries.

While he focused primarily on acting for several years after graduation, Stewart also developed a passion for doing outreach work and giving back to young, aspiring actors.

Brock Dramatic Arts alumnus Marcel Stewart (BA ’07).

When he’s not on stage, he gives private acting lessons and hosts workshops in communities across Canada. He’s worked with school groups at the Toronto International Film Festival, for example, and was the creator of What Noise is This, a workshop that explores William Shakespeare’s canon through the lens of hip-hop music.

Stewart is also involved in the local theatre industry, both as the outreach co-ordinator with St. Catharines theatre company Suitcase in Point and the volunteer co-ordinator for the upcoming In The Soil Arts Festival, taking place this June in downtown St. Catharines.

Brock Assistant Theatre Professor Danielle Wilson offered her congratulations on Stewart’s success.

“Marcel was bright and hungry to learn and is an example of the breadth of career opportunities that become available after studying in DART,” she said. “We congratulate him on his success as a working artist and are very proud of the contributions he has made in the theatre community over the years.”

Stewart attributes his ability to “wear many hats” in his career to the skills he gained from studying at Brock.

“The ‘motor’ that I developed at Brock was probably my biggest takeaway that I still rely on 12 years later,” the 33-year-old said. “To keep going, to keep pursuing, and if a door is closed in my face, then there’s 10 more doors that I can open.”

After the wrap of Brothers Size in Toronto, Stewart is headed back to work in St. Catharines.

He wants to continue his outreach work and bring more eclectic and diverse artists to St. Catharines.

He said instructors at Brock encouraged him to explore his sense of self and find cultural connections through the performing arts — and he wants to do the same for others.

“My experience at Brock helped open me up to recognizing who I am as a black man and encouraged me use that voice and speak from my perspective whenever I can,” he said. “Now I’m on this representation kick, running workshops, doing outreach and looking at how to bring some more colour — in more ways than one — to the artistic landscape.”

Brothers Size runs until Saturday, June 1 at the Young Centre for the Performing Arts at 50 Tank House Lane in Toronto. More information and tickets are available at Soulpepper.ca.

Tags: Danielle Wilson, dart, Department of Dramatic Arts, drama in education, dramatic arts, marcel stewart, Marilyn I. Walker School of Fine and Performing Arts, miwsfpa, soulpepper, the brothers size
Categories: Alumni, Faculty & Instructors, News
MIWSFPA faculty, alumni nominated for 2019 St. Catharines Arts Awards

Thursday, January 31, 2019 | By Brock University

Visual Arts alumna Kylie Haveron (BA ’18) is among the nominees selected for the Emerging Artist category for the 2019 City of St. Catharines Arts Awards.

(From The Brock News, January 31, 2019 | By: Sarah Ackles)

Congratulations are in order for the numerous faculty members and alumni of Brock’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) nominated for the 2019 City of St. Catharines Arts Awards.

The awards recognize and celebrate excellence in all areas of artistic creation and seek to increase the visibility of St. Catharines’ artists and cultural industries, honour cultural leaders and their achievements and cultivate financial and volunteer support for the arts sector.

Visual Arts alumna Kylie Haveron (BA ’18) is among the nominees selected for the Emerging Artist category, while Dramatic Arts Chair Joe Norris and Assistant Theatre Professor Danielle Wilson were both nominated for the Arts in Education award.

Nominated in the Established Artist category are Wayne Corlis (BA ’05, MA ’12), who majored in Visual Arts and earned a master’s in Studies in Comparative Literatures and Arts, and Colin Anthes (BA ’14, MA ’16), who completed a combined Psychology/Dramatic Arts degree with a minor in Philosophy and a master’s degree in Philosophy. Anthes currently works as a part-time instructor in Brock’s Department of Dramatic Arts.

Nominated in the Making a Difference category is alumna Emma German (BA ’14), who majored in Visual Arts and worked as a curator at the City of St. Catharines and Brock’s Rodman Hall Art Centre.

Also nominated in the same category is the Willow Arts Community, a non-profit arts organization based at Rodman Hall that provides free artistic training and exhibition opportunities to community members with lived experience of mental health and addiction.

The recipients of the City of St. Catharines Arts Awards will be recognized at a reception on Friday, May 3 at the FirstOntario Performing Arts Centre. Tickets will be available in March.

A full list of nominees is available online.

Tags: Colin Anthes, Danielle Wilson, dart, Department of Dramatic Arts, Department of Visual Arts, Emma German, joe norris, Kylie Haveron, Marilyn I. Walker School of Fine and Performing Arts, miwsfpa, Rodman Hall Art Centre, St. Catharines Arts Awards, VISA, Wayne Corlis, Willow Arts Community
Categories: Alumni, Faculty & Instructors, News
Sabina’s Splendid Brain opens at MIWSFPA Sept. 14

Thursday, September 06, 2018 | By Brock University

Cellist Grace Snippe (BMus ’16), left, and Danielle Wilson bring the story of 20th century psychoanalyst Sabina Spielrein to life in Sabina’s Splendid Brain. The performance opens on Sept. 14 at the Marilyn I. Walker School of Fine and Performing Arts. (Photo by George Enns.)

(From The Brock News, Wednesday, Sept. 5, 2018 | by Sarah Moore)

While Sigmund Freud and Carl Jung have become synonymous with psychoanalysis, the name Sabina Spielrein might leave you drawing a blank.

The Stolen Theatre Collective hopes to change that by bringing the rarely told story of the Russian-Jewish psychoanalyst to life in a new production at Brock beginning next week.

Sabina’s Splendid Brain, which opens Sept. 14 at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA), chronicles the life of the tenacious and passionate Spielrein as she struggles through the circumstances of her family, her education and her therapy, the professional barriers facing women and wartime anti-Semitism.

Spielrein was often known in relation to her famous colleagues: first as a patient, then as a lover of Jung, and later as a student and friend of Freud. As a psychoanalyst in her own right, however, she moved beyond them both to become one of the great thinkers in 20th century psychology.

Her work was all but wiped from the history books due to Joseph Stalin’s repression of intellectuals and the Nazi invasion of her hometown of Rostov-on-Don, where she and her daughters were killed. Her diaries were recently discovered, however, and her publications were re-examined to reveal the profound impact that her work had on her teachers and peers.

“Sabina had to fight for her voice,” said Brock Associate Theatre Professor Gyllian Raby, the production’s Director. “She walks the boundary between genius and delusion, and this production invites the audience to experience her journey from a screaming teenager with spittle in her hair to the woman who wowed Freud’s intellectual Vienna Circle.”

Scripted by Carol Sinclair, Sabina’s Splendid Brain is rendered on stage in sets by Nigel Scott, projections by Karyn McCallum and lighting by James McCoy (BA ’14), and features performances by Brock Assistant Theatre Professor Danielle Wilson and cellist Grace Snippe (BMus ’16).

“This is a project that fully explores the interdisciplinarity between the arts that was the founding dream of the Marilyn I. Walker School of Fine and Performing Arts,” said Wilson, who is also the co-founder and co-artistic director of Stolen Theatre Collective. “Music, theatre and philosophy are a natural trio in this story of how psychoanalysis helped shape modern consciousness.”

Fides Krucker, a Canadian interpreter, vocalist, opera singer and teacher, collaborated on the interdisciplinary production with Stolen Theatre. Her innovative vocal techniques and interdisciplinary work will be further highlighted later this month as part of the Walker Cultural Leaders Series on Wednesday, Sept. 19 at the MIWSFPA.

Sabina’s Splendid Brain opens with back-to-back weekend performances Sept. 14, 15, 20, 21 and 22, all beginning at 7:30 p.m. Additional matinee performances will take place on Sept. 16 and 23 at 2 p.m.

All performances are held at the Marilyn I. Walker Theatre in the Marilyn I. Walker School of Fine and Performing Arts, located at 15 Artists’ Common in St. Catharines.

Tickets are pay-what-you-can-afford ($10, $25, $40 and $55) and can only be purchased in advance through the FirstOntario Performing Arts Centre box office.

Limited paid parking is available on-site, but city parking is available within close proximity to the venue.

For more information on the production, please contact info@stolentheatrecollective.ca

Tags: Danielle Wilson, Department of Dramatic Arts, department of music, fides krucker, gyllian raby, Marilyn I. Walker School of Fine and Performing Arts, psychoanalysis, sabinas splendid brain
Categories: Alumni, Department/Centre News, Events, Faculty & Instructors, News
Irigaray Circle presents Horizons of Sexual Difference, June 14

Monday, May 21, 2018 | By dvivian

The Irigaray Circle will hold their 9th meeting and 2018 conference “Horizons of Sexual Difference” at the Marilyn I. Walker School of Fine and Performing Arts from June 14-16, 2018.

This three-day international interdisciplinary meeting of The Luce Irigaray Circle is devoted to scholarship/creative work on, or inspired by, the thought of the contemporary French feminist thinker, Luce Irigaray. The conference theme, Horizons of Sexual Difference, brings Irigarayan scholarship into dialogue with recent discourses (i.e., trans, queer, Indigenous) in an effort to discover generative and productive sites in thinking that open up feminist thought.

Keynote Speakers include:

Tawny Andersen
Gwen Benaway
Tina Chanter
Rachel Jones
Emily Anne Parker

The conference is organized by Dr. Athena Colman and is sponsored by the Department of Philosophy, Faculty of Humanities, Brock University.

To register and for recent news see the conference registration webpage

To download a copy of the poster

Tags: Athena Colman, Danielle Wilson, Department of Philosophy, Grace Snippe, gyllian raby, Horizons of Sexual Difference, Irigaray Circle, Luce Irigaray
Categories: Alumni, Announcements, Department/Centre News, Events, Faculty & Instructors
TOP GIRLS: opens March 2!

Saturday, February 24, 2018 | By dvivian

by Caryl Churchill.

Directed by DANIELLE WILSON
Set Design by NIGEL SCOTT
Costume Design by KELLY WOLF
Lighting Design by JENNIFER JIMENEZ
Original Music by MAX HOLTEN-ANDERSEN
Assistant Direction by MICHELLE MOHAMMED
Dialect Coaching by JANE GOODERHAM

When: March 2-10, 2018

FRIDAY, MARCH 2 and SATURDAY, MARCH 3 at 7:30 pm
SUNDAY, MARCH 4 at 2:00 pm
FRIDAY, MARCH 9 at 11:30 am and 7:30 pm
SATURDAY, MARCH 10 at 7:30 pm

What would you sacrifice to get to the top?
Top Girls opens at the MIWSFPA on March 2.

TOP GIRLS, by celebrated playwright Caryl Churchill and directed by Danielle Wilson, runs from Friday, March 2, 2018 to Saturday, March 10, 2018 in the Marilyn I. Walker Theatre, at the Marilyn I. Walker School of Fine and Performing Arts, 15 Artists’ Common, St. Catharines.

Manchari Paranthahan as Nell, Meryl Ochoa as Win, in Top Girls at Brock University.

The Department of Dramatic Arts, part of Brock University’s Marilyn I. Walker School of Fine and Performing Arts, is proud to present an original production of this venerable play about women and power. First produced in 1982, last seen in Niagara at the Shaw Festival in 2015, this contemporary play tells the story of Marlene, a career-driven woman who is only interested in women’s success in business.

The play is an exploration and critical look at women and their relationship to power and success. For the director, Professor Danielle Wilson, the main question at the heart of the play is “what would you sacrifice to get to the top?”

The play follows the story of Marlene, who in 1980’s London has just been promoted to managing director of the Top Girls Employment Agency. With a magic realist twist we see Marlene celebrate her success at a dinner party with five women from history, literature, and art, and as the drink begins to flow, so do their stories of family, adventure, and loss which overlap in witty and humorous dialogue.

Manchari Paranthahan as Nell, Meryl Ochoa as Win, Helena Ciurciura as Marlene, in Top Girls at Brock University.

Throughout the play we also meet the real-life women in Marlene’s life at the office. They struggle to rise to the top of the corporate ladder but are held back by lack of opportunity and the harsh competitiveness of the business world.

The themes and story of the play are extremely topical. The play examines the challenges of working women who choose self-promotion and career over motherhood, family, domesticity. We learn of the cost of Marlene’s ‘successful’ life. Set during the reign of the British Prime Minster Margaret Thatcher, known as the “Iron Lady”, the play asks whether it was an advance to have a woman prime minister if we elected someone with policies like hers.

TOP GIRLS highlights the contradictions between feminism and capitalism. A running theme throughout the play is the secrets that underpin Marlene’s success which in some ways serve to perpetuate the patriarchal structure common in many workplaces. We only learn of these secrets in the final confrontational scene with her closest family, Joyce and her daughter, Angie.

The play is directed by Dramatic Arts faculty Danielle Wilson. Professional collaborating artists include set designer Nigel Scott, costume designer by Kelly Wolf, lighting designer Jennifer Jimenez and music composer Max Holten-Andersen. Jane Gooderham is the Dialect Coach.

Helena Ciurciura as Marlene, Emma McCormick as Angie, in Top Girls at Brock University.

TOP GIRLS showcases the talents of students in the Department of Dramatic Arts undergraduate program. Michelle Mohammed is the Assistant Director, Alicia Marie Bender is the Stage Manager, Whiney Braybrook-Byl is Assistant Stage Manager. Performers include: Helena Ciuciura, Emma McCormick, Samantha Mastrella, Meryl Ochoa, Manchari Paranthahan, Catherine Tait and Kristina Ojaperv.

READ ALL ABOUT IT!

Director Danielle Wilson discusses feminism, ambition, #MeToo and the unique challenge of mounting this play in a brief interview found at the bottom of this page.

Fourth-year student and Assistant Director for the production, Michelle Mohammed, is writing about the development of the show in a dedicated blog: darttopgirls.wordpress.com and dartcritics.com

The public presentation program of the Department of Dramatic Arts is an integral part of the Marilyn I. Walker School of Fine and Performing Arts’ mandate to contribute to regional cultural development and build community connections by engaging our audiences with the breadth of talent and creativity of the students, staff, guest artists and faculty of Brock University.

The Department invites teachers and educators to bring their students to see this exciting production of TOP GIRLS.
Read the Special Invitation to learn more.

Marilyn I. Walker Theatre at the
Marilyn I. Walker School of Fine and Performing Arts
Limited parking onsite.

Purchase tickets at the FirstOntario PAC Box Office
905.688.0722 or online firstontariopac.ca
Tickets: $18 Adults|$15 Seniors/Students| $5 eyeGo | $12 Groups
*Applicable fees and taxes are extra

See the article in the Brock News.

We asked the director of Top Girls, Professor Danielle Wilson, about feminism, ambition, and the unique challenges of mounting this play.

What type of feminist beliefs does Top Girls draw upon?

The play is an exploration and critical look at women and their relationship to power and success. For me the main question at the heart of the play is “what would you sacrifice to get to the top?” Something is always sacrificed, whether it be relationships, personal integrity, mental health, leisure time etc., in the pursuit of success. Top Girls looks specifically at women’s responsibilities and relationships with each other in a capitalistic and individualistic society. It tackles these issues in a broader political spectrum vs. it being about women overcoming their oppression. You can’t get away from being a woman in this play, no matter how hard these women try. What I understand is that the play was inspired by two streams of feminism: one which is about changing the economic situation for everyone which is more collectively oriented and one that accepts and supports an individual’s success over the collective gain. Top Girls examines an individualistic society in which the few thrive at the expense of many and one in which isolated female success overshadows the plight of the majority.

How do you connect the feminism of the 1980’s portrayed in Top Girls to feminist movements and/or beliefs today? How do you think our students will understand the representation of feminist thought in your production?

Fourth wave feminism, which we are seeing now, tends to be more collectively oriented. Social media started an entire #MeToo movement, which questions abuse of power. Top Girls discusses power and success in relationship to women. The main character in the play, Marlene, tends to use what one might call more ‘masculine’ tactics in the workplace. The entire corporate structure has been built on more masculine characteristics of leadership. When a woman is in a top position, masculine qualities can run contrary to what is expected of her gender, so she may be perceived as cold or distant or a bitch. Margaret Thatcher, who serves as an unseen character in the play was described as the ‘Iron Lady”, but no man who ruled in the way she did was ever called the ‘Iron Man’, he was just a man. She even had voice lessons to help her sound more masculine so that her cabinet would take her seriously. One of the characters in the play, Nell says that “an employer is going to have doubts about a lady, whether she’s got the guts to push through to a closing situation. They think we’re too nice. They think we listen to the buyer’s doubts. They think we consider his needs and his feelings.” We’re becoming aware that there is more than one way to lead and it is not an imperative to oppress or step on others in order to succeed.

I think students will recognize the issues being debated between Marlene and Joyce as they each argue opposite political viewpoints. Today, there is definitely a more collectively oriented mindset as evidenced by the Occupy movement, Idle No More, and the #MeToo movement. There is resistance to the social and economic status quo. Young people, both men and women, are building strength through bonds with each other and challenging systemic abuse, racial profiling, and poor economic prospects.

What is “the top”?

I think it depends on the person. Success and reaching ‘the top’ is complicated and is defined by each person differently. For some it may be reaching the top over someone else, for others it may be reaching the top of one’s own potential.

Marlene’s character seems to be the one striving for the “top” and stepping on anyone in her way, should we be feeling empathy for her? Should we like or dislike her? What should we be learning from her actions?

I think ultimately it will be up to the audience to decide how they feel about her. We learn a lot about her personal life in the third act and what she has sacrificed to get to where she is. Caryl Churchill, the playwright, has written a complex character who is flawed, but what human being isn’t? Some may admire and empathize with her actions. She did what she had to do. Others may not. We see both sides of the story in the final act in which she has a showdown with her sister, Joyce, who has taken a very different path in life. Ultimately, Churchill has written a play that involves more questions than answers, but that’s the beauty of it, you get to chew over these questions after the play is over. To me, that’s the mark of a great play.

Are there significant challenges with this production that our audience would be interested in knowing about?

The play involves a big dinner party at the very beginning. Caryl Churchill has written overlapping dialogue where people are talking over each other, like at a real dinner party. It has been challenging to choose what the audience hears and doesn’t hear. Sometimes the audience will hear both and have to choose which to listen to. It has been both a challenge as a director and as an actor. Not only must the actors learn their lines, but they must also learn when they begin speaking in the middle of someone else’s line.

February 17, 2018
/dv

Tags: Caryl Churchill, Danielle Wilson, Department of Dramatic Arts, mainstage