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2015-16 Event Season

Thesis Bonanza Weekend

April 1-3, 2016

The final thesis presentations for DRM485Y

April 1 – 7:30pm-10:00pm
Location: Helen Gardiner Phelan Playhouse (Front and Long Rooms) 79 St. George Street
April 2 – 9:00pm
Location: 360 Geary Avenue
Acid Test Toronto is based on the Acid Tests hosted by Ken Kesey and his band of Merry Pranksters in the mid 1960’s. It explores an adaptation of the performativity of the original Acid Tests, raises questions about performing ritual, and is my own experiment in performing nostalgia. – Catt Filippov
April 3 – 7:00pm-9:00pm
Location: Helen Gardiner Phelan Playhouse, 79 St. George Street

ImageBPThe Underneath the Above Show # 1 presented by Bread and Puppet Theatre

March 10-12, 2016

Venue: Luella Massey Studio Theatre, 4 Glen Morris Street
March 10 – 8:00pm
March 11 – 8:00pm
March 12 – 2:00pm & 8:00pm
Tickets: $10 Student/Senior $20 Regular
www.uofttix.ca or call 416-978-8849

The Underneath the Above Show #1 is a puppet show contribution to the ongoing U.S. presidential election campaign, performed by a team of hardhats who manipulate the life-size cardboard electorate. The elementary dissatisfaction of the population and its desire for systemic change are demonstrated in three acts showing three regime changes in a distant mountainous country and are in stark contrast to the actuality of the ongoing presidential campaign. Act 3 features a guest appearance by an old jolly god resurrected for the purpose of promoting life, health, home, and general protection from evil!  Proletarian coffee breaks included.

More information about Bread and Puppet Theater can be found at : www.breadandpuppet.org

PericlesPosterFlat (002) Pericles Prince of Tyre – directed by Kate Lynch

March 1-5, 8-12, 2016

Venue: Helen Gardiner Phelan Playhouse, 79 St. George Street
All shows at 8:00pm
Tickets: $10 Student / $20 Adult
www.uofttix.ca or call 416-978-8849

Young Pericles, the Prince of Tyre having discovered the dark secret of the great king of Antiochus, is forced to flee his country. At sea he is met with storms, a shipwreck and rescue, a princess, a birth, and a death. After years adrift on the open sea, bereft of everything, the gods final hear his prayers and take pity on him.

Harold Blum called Pericles “Shakespeare’s most wildly experimental play.” Having conquered tragedy, comedy and historical epic, Pericles was the first of his new approach to playwriting, dreamscapes that incorporate myth and magic.

Under the direction of Kate Lynch, well known for her direction of works at the Shaw Festival, Blyth Festival and Theatre Passe Muraille, this fantastical play will come to life once again onstage.

C+P-poster-3 Cakes and Puppets / Buchty a Loutky

February 9-13, 2016

Venue: Robert Gill Theatre and Luella Massey Studio Theatre

Cakes and Puppets/Buchty a Loutky is an experimental puppet theatre company from the Czech Republic. Founded in 1991 by graduates of the puppet department of the Prague Academy of the Performing Arts, Cakes and Puppets has premiered over 40 live productions for adults and children and they have designed stop-motion sequences for films including Lars von Trier’s The Antichrist. Their performances combine old toys, discarded objects, and fine art sculpture. Their aesthetic has been called “punk puppetry” and “the theatre of Do-It-Yourself.” Their work spans fairy tales, opera, and a recent “Reloaded” series of puppet productions of classic and cult films including Rocky, Psycho, Jaws, and Barbarella.

For their North American premiere, Cakes and Puppets will bring two productions to the Luella Massey Studio Theatre at the University of Toronto. The first is their adaptation of Petr Sis’s Caldecott Award-winning book Tibet: Through the Red Door. Sis’s father, a documentary filmmaker, was sent to China in the 1950s to film a Chinese construction crew building a highway. Separated from the workers and caught in a blizzard, the elder Sis witnessed events that he could only communicate to his son through tales of gentle Yetis, an encounter with the Dalai Lama, and other “magical stories.” In 1994, Sis discovered his father’s diary, locked in a red box, with the message “The diary is now yours.” Tibet filters Cold War intercultural tensions through the eyes of a child—and an adult reflecting on his Central European past.

Event Schedule:

February 9 – Opening Night Reception and Forum Discussion demonstration with members of the company in the Robert Gill Theatre 6:00pm

February 10 – Screening of the opera La Calisto in the Robert Gill Theatre, 6:30pm

Ticketed Performances:

Tibet: Through the Red Box
February 11, 12 & 13 @ 8:00pm
Venue: Luella Massey Studio Theatre
Tickets: $10 Students/Senior $20 Adult
Tickets can be purchased at www.uofttix.ca or call 416-978-8849

Three Little Pigs (a performance for children)
February 12 & 13 @ 1:00pm
Venue: Luella Massey Studio Theatre
Tickets: $5 Child $15 Adult
Tickets can be purchased at www.uofttix.ca or call 416-978-8849

FOOT 2016: Staging Realities

February 5-7, 2016

Venue: Robert Gill Theatre, 214 College Street 3rd Floor (Use the St. George Entrance)
FOOT, or Festival of Original Theatre, is an annual theatre conference combining both academic presentations and creative performances, hosted at the Centre for Drama, Theatre, and Performance Studies at the University of Toronto.

2016 marks the conference’s 24th iteration, this year with the theme Staging Realities. This exploration of theatre’s interaction with the real, realness, and reality (in all its possible forms) will be held February 5-7 2016 in Toronto, Canada.

FOOT 2016 will feature a key note address by acclaimed scholar Dr. Marvin Carlson. You are invited to attend this dynamic and engaging theatre studies conference, with an array of performances, lectures and paper presentations.

Event Schedule and Event Program

A Colloquium with Sasha Kovacs and Cecilia Morgan

February 3 , 2016

Time: 4:15pm-5:45pm
Venue: Seminar Room 330, 214 College Street 3rd Floor

Join us for a colloquium with current PhD candidate Sasha Kovacs and Professor Cecilia Morgan as they speak to their individual papers and research. Kovacs will focus on the work and perception of E. Pauline Johnson, while Professor Morgan will speak to the relationship of celebrity and fan in the late 19th and early 20th Century.

For a detailed account of each presenters topic please see below:

Renegotiating the “most difficult thing in the world”: The Histories of E. Pauline Johnson’s “Correct” Costume(s)

‘Fans and “Freaks”: Theatrical Celebrity and Emotional Communities in Early Twentieth Century North America’

The Middle East in Pieces: Three Perspectives on Politics, Performance, and War

January 29, 2016

Time: 2:00 pm-3:15 pm
Venue: Seminar Room 330, 214 College Street, 3rd Floor (Use the St. George Entrance)

Presenters: Matt Jones, Marjan Moosavi, and Deniz Basar
Moderated by: Prof. Barry Freeman

The Other “D”: Locating ‘D’ance in Drama, Theatre and Performance Studies in Canada A Symposium

January 22-23, 2016

Venue: Robert Gill Theatre, 214 College Street, 3rd Floor (Use the St. George Entrance)

…at once an advocacy and gesture towards strengthening scholarly communities and broadening interaction between dance, drama, theatre, performance studies and beyond.

This two day symposium was developed in response to the seclusion many dance-focused scholars experience while pursuing graduate studies.

The symposium hopes to build productive and positive exchanges between and within dance, theatre, and performance studies. We want to raise awareness about the scope of dance studies and of dance-based research happening across and/or about Canada.

We invite you to attend a series of guest lectures, paper, poster, and lecture demonstrations, performances, and an archival exhibit by Dance Collection Danse, that focuses on the very issues mentioned above.

Day time events are free, but we ask that you register http://theotherd.evenbrite.ca

The Friday Evening Performance Series is Pay-What-You-Can

Check out our Schedule of Events for more details

All events will take place in the Robert Gill Theatre, located at 214 College Street, 3rd Floor (Please use the St. George Entrance)

Inter-Action Section/ Section – Performing Technology, Humans and the Politics of In-Betweenes

January 16 – 17, 2016

Venue: Luella Massey Studio Theatre

A two-day exploration of themes like intersectionality, in-betweeness, multi-linguality and inter-activity in current creative research practices and the digital humanities as relevant to the performing arts and performing bodies. It is a free and open event for artists, scholars, scientists and students across disciplines.

Day 1 – January 16 11 am-4 pm
Presentations and a practical workshop with guest multi-media artist Natasha Davis (UK) and representatives from Ars Mechanica Theatre, the Toronto Laboratory Theatre, and the Digital Dramaturgy Lab.

Day 2 – January 17 3:00 pm-4:30 pm
A PWYC performance of Teeth Show, by Natasha Davis, with a talkback to follow
Suggested minimum $5

Modern Moves: A Chat with Dance Scholar Danielle Robinson

January 13 2016  4:15pm-5:45pm

Venue: Seminar Room 330
Free: Admission

Danielle will be speaking about her new book Modern Moves, which traces the movement of North American social dance styles between black and white cultural groups and between immigrant and migrant communities during the early twentieth century with a particular focus on New York City and the emergences of hybrid dance forms like, blues, ragtime, ballroom, and jazz.
Copies of Danielle’s book will also be available for sale. This is a must attend event for any and all interested in dance studies, or who are dancers yourselves!

Danielle Robinson is a dance scholar who researches the cross-cultural movement of Afro-diasporic popular dances within the Americas. She is an associate professor of dance studies at York University and cross-appointed with the graduate programs in Theatre and Performance Studies and Communication and Culture. Her monograph on early twentieth century social dancing–Modern Moves: Dancing Race during the Ragtime and Jazz Eras–was just published with Oxford University Press.

Modern Moves traces the movement of North American social dance styles between black and white cultural groups and between immigrant and migrant communities during the early twentieth century. Its central focus is New York City, where the confluence of two key demographic streams – an influx of immigrants from Eastern Europe and the growth of the city’s African American community particularly as it centered on Harlem – created the conditions of possibility for hybrid dance forms like blues, ragtime, ballroom, and jazz dancing. Author Danielle Robinson illustrates how each of these forms came about as the result of the

co-mingling of dance traditions from different cultural and racial backgrounds in the same urban social spaces. The results of these cross-cultural collisions in New York City, as she argues, were far greater than passing dance trends; they in fact laid the foundation for the twentieth century’s social dancing practices throughout the United States.

Director’s Shows

December 4-6, 11-13, 2015

Admission is Free 

About: This year’s DRM402 Directing Class will feature 4 different director’s and 4 different plays. Supervised by Leah Cherniak.

Hello from the Rain

Tennessee Williams’ Hello from Bertha and Talk to Me Like the Rain and Let Me Listen, directed by Cassidy Sadler

December 4-5 @ 7:00pm December 6 @ 2:00pm

Venue: Helen Gardiner Phelan Playhouse
Tickets: Free Admission. Reservations Required.

About: Two visions of desperation: the eviction of a dying prostitute in East St. Louis, and the deterioration of lovers in in midtown Manhattan. Each scenario trapped in a bedroom. Each set of characters railing against reality.

Director Bio:

Cassidy Sadler is a fourth year student specializing in Drama and majoring in English.  She studies performance, playwriting and directing.  This is her seventh directorial project and her first at the Centre — she is incredibly excited and very grateful for the opportunity to work with such a talented team. Cassidy hopes to graduate this year, take lots of risks, and continue learning and creating theatre in travel.


VALKYRIE by Thomas McKechnie
directed by Ceilidh Wood

December 4-5 @ 9:00pm December 6 @ 4:00pm

Venue: Helen Gardiner Phelan Playhouse, 79 St. George Street
Tickets: Free Admission. Reservations Required.

About: The game is fixed: playing by the rules is asking to lose.”

Part dark comedy, part revenge fantasy, Valkyrie is a night in the life of two women conspiring in a dark seduction. Sex meets violence and power. How far will the disenfranchised go to empower themselves? And who wins when they do?

Directed by Ceilidh Wood and starring Madeleine Heaven, Catt Filippov and John Shubat.

Warning: This show is recommended for mature audiences only due to violence and explicit language.

Director Bio:

Ceilidh Wood fell in love with directing in high school and was lucky enough to direct three plays for the Ontario Sears Festival, winning two awards for Excellence in Directing and one for Outstanding Production. She went on to co-write, direct and produce PCVS! The Musical, an independent show about a contentious local issue in her hometown of Peterborough. At U of T, she has directed Amigo’s Blue Guitar for the UC Follies. Ceilidh is a 4th year Drama Specialist and is so excited to this opportunity to work with such diversely talented Drama Centre students on this “thrilling” production.


Antigonick by Sophokles, translated by Anne Carson, Illustrated by Bianca Stone, directed by Dorcas Chiu

December 11-12 @ 8:00pm, December 13 @ 2:00pm

Venue: Helen Gardiner Phelan Playhouse
Tickets: Free Admission. Reservation Required.
Visit our Facebook Event Page

About: In the dead of Winter, Antigone is caught in an act of perfect peity.
Antigonick is a self-aware translation, adaptation and commentary on the classic play, Antigone by Sophokles. Through illustrations and parodic language, Carson challenges the Western Male-centric portrayal of the titular heroine(?).

Director Bio: 

Dorcas Chiu is a Queer Asian fourth year student at UofT, specializing in Drama and majoring in English. Currently, as a multi-disciplinary theatre artist, she is interested in devising visceral movement that translates descriptive language onto the stage. She just wrapped up her directorial debut, Agamemnon (UC Follies). When she is not directing, she can be found performing, dramaturging, and stage managing various projects around the city. She is extremely excited for this year’s 402 Directorial showcases! 


4.48 PSYCHOSIS by SARAH KANE, directed by Elyse Waugh

December 11-12 @ 9:00pm December 13 @ 4:00pm

Venue:Helen Gardiner Phelan Playhouse
Tickets: Free Admission. Reservation Required.
Visit our Facebook Event Page.

About: “It is myself I have never met, whose face is pasted on the underside of my mind.” Through poetry, conversations and confessions, Kane gives the world a glimpse into her life, in this non-linear emotionally riveting play.

Director Bio:

Elyse Waugh is currently in her final year at the Centre for Drama, Theatre and Performance Studies. Over the past 4 years she has explored several areas of theatre; including stage management, acting and directing. She is currently working on her undergraduate thesis, where she will be exploring the existence of technology and the body within a theatrical space. Some of her previous work includes: This Is For You Anna (Stage Manager), A Streetcar Named Desire (Assistant Director/Stage Manager); among other small projects she has had the opportunity of taking on at U of T. This will be her solo directorial debut and she is absolutely thrilled to be bringing one of Sarah Kane’s pieces to life.

c&c postcard 2Casimir and Caroline by Ödön von Horváth adapted by Holger Syme

presented in collaboration with The Howland Company and the Centre for Drama, Theatre and Performance Studies

November 19-22, 2015

Time:  8:00pm,
Location: Luella Massey Studio Theatre, 4 Glen Morris Street
Tickets: $15 uofttix.ca

“Nothing’s getting better”

Casimir has lost his job. Caroline wants to have fun. They go to a party, and everything falls apart. Casimir and Caroline is a play about love in the cold atmosphere of modern capitalism. Its world is full of chronically unfulfilled characters, whether they see themselves as victims, winners, or just living in the moment. They all desperately long for something more. None of them can say what that might be.

But at least their lives look dope on Instagram.

Ödön von Horváth’s 1932 tragicomedy is one of the most frequently staged plays in the modern German repertoire, but it has never been professionally produced in North America. Veering wildly between raucous and intimate scenes, between destitution and orgies of consumption, between heartbreak and vicious satire, between hilarity and anger, Horváth’s play could have been written yesterday. Its political analysis remains astonishingly up-to-date.

As adaptor and director Holger Syme explains, “we took our cue from Horváth’s insistence that the play takes place ‘now.’ We set the action in our world, at a corporate party inside a nightclub, among the shallow and overly thoughtful, the eager and disillusioned, the over-privileged and desperate twentysomethings of contemporary Toronto.” Aesthetically, the Howland Company’s staging is indebted to Horváth’s own commitment to theatricality: as he wrote, “naturalism and
realism would kill my plays.” “In the past three months,” Syme elaborates, “we’ve been striving to blend European and Canadian stage sensibilities. In this exploration we are looking to find a contemporary theatre language to approximate Horváth’s distanced but faithful, unflinching but sympathetic portrayal of ‘people as they are.’”

This four-day run is conceived as a workshop production, reflecting the results of an intensive and extended rehearsal process. It is being presented as a fully staged production, a preliminary end point of the company’s process; the anticipated future development of the project will focus on the production with all theatrical elements in mind rather than solely on the text. Audience feedback and commentary will be actively solicited during talkback sessions after each of the four performances.

Casimir and Caroline is part of the 2015/16 season of the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. It is produced with support from the Jackman Humanities Institute’s Program for the Arts.

For more information about The Howland Company visit www.howlandcompanytheatre.com

gettingtoroomGetting to Room Temperature by Arthur Milner presented in collaboration with the Room Temperature Collective and the Centre for Drama, Theatre and Performance Studies

November 13-15, 2015

Time: Friday-Saturday @ 8:00pm, Sunday @ 2:00pm
Location: Robert Gill Theatre, 214 College Street, 3rd Flr
Tickets: $10 Student/$20 Regular Preview night Wednesday November 18, PWYC
New play by Arthur Milner embraces dying in Canada

How do you go about helping someone to die? No. How do you go about helping your mother die, because she’s asked you? Should you? Do you? How would you do it?

Arthur Milner’s Getting to Room Temperature invites audiences to look at aging and dying in Canada in this beautiful and searing play that will leave audiences laughing through tears and grateful for the lives we share. In a celebrated return to the stage, award-winning actor Robert Bockstael tackles this provocative new play, designed by Martin Conboy and Sue Fijalkowska, with dramaturgy by Maureen Labonté.

In February 2015, the Supreme Court of Canada ruled that desperately suffering patients have a constitutional right to doctor-assisted suicide. Now, a new Parliament has been elected and doctor-assisted suicide is sure to become an issue of debate in the coming months. Getting to Room Temperature is timely and vital, a response to a question that lies at the heart of our lives: “What makes a good death?”

Getting to Room Temperature charts the beautiful life and poignant death of Milner’s mother, while engaging audiences in a daring, personal, and great debate of our time. In a tour-de-force performance, Bockstael guides the audience through a minefield of emotional and ethical turmoil, and brings a much-needed conversation to the Canadian stage.

Getting to Room Temperature is on for only four nights in Toronto. Don’t miss it!

performed by Robert Brockstael
lighting, sound and set design by Martin Conboy
costume design by Sue Fijalkowska
assistant directed and produced by Jenny Salisbury
stage management Jessica Watkin
production assistants Danielle Alfaro and Tita Kyrtsakas

PLSPosterMaryPlayPLS presents: The Mary Play from the From the Medieval N-Town Manuscript

November 6-7. 2015

Time: 8:00pm
Location: St. Stephen in the Fields, 2013 Bellevue Ave
Tickets: $10 Student/$15 Senior/$20 General uofttix.ca

Poculi Ludique Societas, Toronto’s renowned medieval and renaissance players, continue to celebrate their 50th anniversary with a production of the N-Town Mary Play. PLS is a theatre company affiliated with the University of Toronto, dedicated to the production of early plays for research and entertainment.

The N-Town Mary Play is a Medieval English drama chronicling the biography of the Virgin Mary, from her own immaculate conception through her childhood Presentation at the Temple and the events leading up to the Annunciation when she is chosen to be the virginal mother of Christ. The Mary Play is a liturgical drama, full of choral music, which will be overseen in this production by Musical Director Andrea Budgey of the medieval music group SINE NOMINE, and chaplain of Trinity College.

Directed by Kimberley Radmacher, the production is an adaptation of a piece originally staged in Oxford in 2009 under the supervision of scholar Elisabeth Dutton.

In conjunction with the performance, PLS will also host The Mary Play Symposium on Saturday November 7 from 11 am to 4:30 pm at the Centre for Medieval Studies, 125 Queen’s Park at Bloor, Room 310.

0186685_theatre-and-learning_300Theatre and Learning: A Book Launch

October 29, 2015

Time: 5:30pm-7:30pm (Cash Bar and Light Refreshments)
Venue: Robert Gill Theatre lobby, 214 College Street, 3rd Flr

A screening of the documentary Babydrama, directed by the avant-garde Swedish theatre artist Suzanne Osten, will also take place inside the Robert Gill Theatre during the launch.

Copies of the book will be available to purchase.

As early as Plato, theorists acknowledged the power of theatre as a way of teaching young minds. Similarly, starting with Plato, philosophers occasionally adopted an anti-theatrical stance, worried by the “dangers” theatre posed to society. The relationships between learning and theatre have never been seen as straightforward, obvious, or without contradictions. This volume investigates the complexity of the intersection of theatre and learning, addressing both the theoretical and practical aspects of it. In three sections—Reflecting, Risking, and Re-imagining—theatre researchers, education scholars, theatre practitioners consider the tensions, frictions and failures that make learning through theatre, in theatre and about theatre interesting, engaging, and challenging.

Loosely based on the proceedings from the 20th Festival of Original Theatre (F.O.O.T.), which took place in February 2012 at the University of Toronto, this book contains academic articles and interviews, as well as position, reflection and provocation papers from both established researchers in the field of Applied Theatre, such as Professor Helen Nicholson and Professor Kathleen Gallagher, as well as experienced and emergent scholars in Education, Theatre, Dance and Performance Studies. It also introduces the unorthodox work of the pre-eminent Swedish director and inventor of Babydrama, Suzanne Osten, to the academic audience.


Art Babayants (excerpt from the Introduction)

The question that many of my non-theatre friends pose to me over and over again is: “What is it that you find in the theatre that we don’t?” Sadly, my friends’ childhood and sometimes adult memories of TYA (and not only TYA) are often marred by stupefyingly dull shows which commonly use a condescending tone. After those traumatic theatre experiences, my friends have a right to ask why they should go to the theatre ever again.

Heather Fitzsimmons Frey (excerpt from the Introduction):

By being honest about the highly complex and potentially powerful relationship between theatre and learning, we believe that the writers in this book invite readers to ask themselves difficult questions about their own artistic and/or pedagogical practices, and about their own assumptions regarding binaries such as what theatre can, cannot, should, or should not do; and also about a wide open vista of utopias where reflecting, risking, and re-imagining could make space for theatre and learning “maybes” and “mights.”

Canadian Theatre Redux2A Conversation on the State of Canadian Theatre: Redux

October 28, 2015

Time: 7:30pm (Cash Bar available starting at 6:45pm)
Venue: Robert Gill Theatre, 214 College Street, 3rd Flr
Admission: Free

Viewing the 1973 video featuring the late Bill Glassco, Carole Bolt, David Bolt, and Paul Thompson, we take a step back into our past, and we look to re-examine the topic, what does the future hold for Canadian Theatre? This video panel discussion chaired by Martin Julien will feature once again Paul Thompson, and current renowned theatre practitioners, Rosamund Small, Jennifer Brewin and Beatriz Pizano.

Dedicated to the memory of David Bolt, who was the primary reason this piece of archival theatre history footage is available to us now in digital format.

Paul Thompson 

Why is this  discussion about Canadian Theatre and its future important?

In my long journey through a life of  theatre practices in this country, I have only recently come to fully understood one of its core principles:  Canadian theatre has a compulsive need to completely re-invent itself every ten to fifteen years.  We are now at one of those points and it is essential for its future to enter into lively discourse about where Canadian theatre might be going, and more importantly:  Who Is Going To Be Part Of It?

Bio: Former long-time Artistic Director of Theatre Passe Muraille, and former Director General of The National Theatre School of Canada, Paul Thompson was a central force in a movement that resulted in the emergence of a distinctive voice for theatre in English Canada.  Using a collaborative technique often called collective creation, he and his team fashioned out a series of plays that spoke to our geographical and psychological landscapes.  There was an amazing audience response and this work connected with people across the country, whether in Passe Muraille shows like The Farm Show, 1837, and Maggie and Pierre or productions from sister companies like Codco in Newfoundland, 25th Street Theatre in Saskatoon, or Theatre Network in Edmonton.  As a playwright, Paul has also “wrought” into being dramatic works by writers as diverse in style as Michael Ondaatje, Rick Salutin, and Timothy Findley.  He is in his seventh decade of play-making and still has a need to go into the “room of creating.”

Rosamund Small

Why is this  discussion about Canadian Theatre and its future important?

“I think this kind of conversation can bring a perspective on what has or hasn’t changed in the theatre in the last few decades, and whether we’ve achieved goals set out by the practitioners who were making work in this country many years ago.  It’s great to frame a conversation about where we are today by looking back at where we have been.  I’m excited to take part in this conversation and hope I can bring something to the table!”

Bio: Rosamund Small is a playwright best known for her work Vitals, produced by Outside the March and winner of several awards including Dora Awards for Outstanding Production and Outstanding New Play.  Rosamund writes for many theatre forms, including site-specific, immersive, and documentary. She also curates the Paprika Festival’s new annual event The Intersection, a conference for young artists, and facilitates Paprika’s playwriting program for young people. Most recently Rosamund worked as a dramaturge for a new ballet co-comissed by the National Ballet and the Banff Centre.

Jennifer Brewin 

Bio: Jennifer Brewin is a Canadian theatre artist specializing in new work. She has directed the premier productions of plays by Haley McGee, Natasha Greenblatt, Martha Ross, Martin Julien, Colin Heath, Sean Dixon and Michele Riml.

She has directed large scale works for outdoor stages across the country including B.C.’s Caravan Farm Theatre, Ottawa’s National Arts Centre and Experimental Farm, Toronto’s Evergreen Brick Work, the Canadian War Memorial in Vimy, France and with Michael Rubenfeld they created a walking concert featuring the indie band Wooden Sky in Toronto’s  back alleyways  for Toronto’s Summerworks Festival.

She co authored a number of collective creations including The Public Servant and The Attic The Pearls and Three Fine Girls (Common Boots-Theatre Columbus/GCTC), A Night in the Woods (Caravan Farm Theatre),  and The Great Frost of 1608 (with Peter Hinton/National Arts Centre).

She is the recipient of a Dora Mavor Moore Award, a Jessie Richardson Award, A Harold Award and The Armstrong Award of Excellence with Estelle Shook on behalf of the Caravan Farm Theatre.

She was the Co-Artistic Director of the Caravan Farm Theatre, the Associate Artist at the National Arts Centre, and is currently the Artistic Director of Common Boots Theatre (formerly Theatre Columbus).

Beatriz Pizano 

We are still talking about our lack of audiences and relevance.  It’s incredible how little things have changed.  What has changed dramatically though, is the identity of Canadian theatre, but we have much catching up to do.

Bio: Beatriz Pizano is the Artistic Director of Aluna Theatre, a company that brings pluralism in the arts to the forefront. Founded in 2001 as a response to the under-representation and mis-representation of cultural diversity in Canadian theatre, Beatriz’s goal is to create theatre that gives an opportunity to as many artists from the Latin American Diaspora as possible, with a very strong focus on developing women’s voices; to work with culturally diverse artists; and to share the company’s approach to creation: one that is inspired and influenced by Beatriz’s Latin American and Canadian roots.
Beatriz has built Aluna into an international company, recognized for its unique approach to creation, its daring political work, and most recently, a new international festival, RUTAS, now on its third edition. Aluna’s original productions and co-productions have earned them 26 Dora Mavor Moore nominations and 11 wins.
As a writer/director Beatriz has received a number of prestigious awards including the John Hirsch Prize and the Chalmers Fellowship. In 2014 she received the K.M. Hunter award and this year she was recognized by president J.M. Santos as one of the 100Colombians who have made significant contributions to their communities outside Colombia. She was also named one of the 10 most successful Colombians in Canada and became the first Latin Canadian female actor to win the Toronto Critics award and a Dora for her performance in Blood Wedding (a co-production with Modern Times Stage Company). As a playwright she has written and directed a trilogy of plays about women and war that includes: For Sale, Madre and La Comunión. Her first play for young audiences, La Maleta (produced by Roseneath Theatre) has toured extensively in Canada and the US. All four works have earned her Dora nominations as Outstanding New Play


October 8, 2015

Time: 1:15pm
Venue: Seminar Room 330, 214 College Street, 3rd Flr (Use the St. George Entrance)
Admission: FREE

About:What do public performances of femininity do within spaces where masculinity is the convention? Examining the heterosexist transnational subcultures of graffiti and street art, Dr. Pabón considers the value of collective performance through two annual and international graffiti and street art events—Ladie Killerz (Australia) and Femme Fierce (UK). She argues that through the strategic public performance of an undervalued gender identity (i.e. woman), these “ladies” and “femmes” claim their subcultural ownership and transform their precarious social belongings.

Dr. Jessica N. Pabón is an Assistant Professor in the Women’s, Gender, and Sexuality Studies Program at SUNY New Paltz. She is an interdisciplinary feminist scholar with specializations in Feminist of Color Theory, Hip Hop Culture, Latinx Studies, LGBT and Queer Studies, Performance Aesthetics, Transnational Feminisms, and Digital Humanities. She has publications in TDR: the journal of performance studies, Women & Performance: a journal of feminist theory, and Rhizomes: Cultural Studies in Emerging Knowledge. Dr. Pabón was a Postdoctoral Fellow in the Arts & Humanities at New York University, Abu Dhabi from 2013–2014 and an American Association of University Women Fellow from 2012–2013. She is currently preparing her manuscript Graffiti Grrlz: Performing Feminism in the Hip Hop Diaspora for publication. She blogs about her work at www.jessicapabon.com and tweets from @justjess_phd.

Teena LangePerformativeChatA Performative Chat with Teena Lange

October 1, 2015

Time: 7:30pm
Venue: Robert Gill Theatre, 214 College Street, 3rd Floor (Use the St. George Entrance)
Admission: FREE

Performative Writing or Creative Critical Writing is claimed to be, in itself, a form of performance, often taking as its subject a work of visual art or performance art. The core of this mode is to develop sensitization for textures and the practice of taking the time to do the doing. Entering into performative writing allows the re/activation of the wording & being less paralyzed by the empty page, breaking through the trained fixation of meaning seeking structures of texts. Everyone can write.

TEENA LANGE is a performance art curator, researcher, and the artistic director of Grüntaler9 – a space towards the performative. She studied Theatre & Performance Studies, as well as Linguistics & Literature in Leipzig, Paris, and Berlin. At the Freie Universität Berlin, she worked as a Program Coordinator and Research Associate at the International Research Center “Interweaving Performance Cultures.” Additionally, she has given seminars & lectures at Freie Universität Berlin, University Istanbul, and Lithuanian University Vilnius. Her current work includes independent performance art curation for Grüntaler9 Berlin, nGbK Berlin, Savvy Contemporary, Month of Performance Art Berlin, Art Bosphorus Istanbul, Brooklyn International Performance Art Festival New York, >performance space< London, Musrara Mix Festival Jerusalem, Supermarket Stockholm, Poppositions Brussels, amongst others. She is Co-Founder and Vice President of APAB – Association for Performance Art Berlin.

Player 2 Player: Revealing Hedda GablerPlayer to Player - Revealing Hedda Gabler

September 28, 2015

Time: 7:00pm
Venue: Robert Gill Theatre, 214 College Street, 3rd Floor (use the St. George Entrance)
Admission: FREE

About: Hosted by Martin Julien, this exciting Q&A discussion will feature prominent and award winning Canadian actresses Yanna McIntosh, Seana McKenna and Moya O’Connell as they discuss their time playing the role of the infamous Hedda Gabler in various periods of their lives. Light refreshments will also be provided.

gap2.1Stories from the Generation Gap

Written and Directed by Cameron Crookston

August 20 – 8:00pm (reception to follow)

August 21 – 8:00pm
August 22 – 8:00pm
August 23 – 2:00pm

Venue: Robert Gill Theatre, 214 College Street 3rd Floor (Use the St. George Entrance)

Tickets are PWYC

Please contact the Centre for Drama, Theatre, and Performance Studies by email at rsvp.dramacentre@gmail.com

For media or press inquiries please contact Rebecca Biason at: 416-978-7987 or by email: rebecca.biason@utoronto.ca


The University of Toronto’s Centre for Drama Theatre and Performance Studies invites you to attend the premiere of Stories from the Generation Gap a verbatim play built out of original interviews with queer men and women conducted by playwright Cameron Crookston. His conversations emerge from diverse corners of the gay community, exposing the complicated space of culture, economics, gender, and of course, age. Ranging in age from their late teens to their early sixties, the voices in this play bring harrowing, human stories of sexuality, community, role models and political identity. The result is a gathering of people that speak to, past, and over each other, in a play that questions “how can we live together” and “who the hell is ‘we’, anyway?”

Unlike Toronto’s hundreds of cultural communities, gay men and women do not give birth to their next generation.  They don’t gather around the family table to tell stories of “you kids today, you don’t even know where you come from”.  Queer youth are not raised by the elders of their own community. Without this kinship to yesterday, how do they learn about their own history?  “Gay” identity?  What’s going to happen to the stories of Stonewall, the Bathhouse Riots, the AIDS epidemic, the first Pride parade, when there’s no one left to tell the story?

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