This fall, UVic’s Department of Theatre will celebrate 50 years of creating great theatre—and great artists. Along they way, the Phoenix has also created some incredible moments on their stages. Generations of students (literally, they have several second-generation students from alumni families!) have become successes in the world of theatre, or wherever life has taken them.
This year, UVic Theatre is celebrating not only their history but also their alumni, knowing full well these students—past and present—are what truly make the Phoenix such a special place . . . a place where young people become artists, and friendships are formed that last a lifetime. Whether alumni or treasured audience members, we look forward to celebrating with everyone who has been touched by the Phoenix over the past five decades.
To mark its 50th anniversary, the Phoenix Theatre has expanded its usual fall “Spotlight on Alumni” into a three-week 50th Anniversary Alumni Festival. Internationally acclaimed artists and alumni have been invited to present five different shows during the festival, running from October 11-29.
Self-proclaimed “professional geek” Charles Ross — best known for his One-Man Star Wars Trilogy — will present all of his one-man nerd trilogies: One-Man Star Wars Trilogy,One-Man Lord of the Rings, and his newest, Dark Knight: A Batman Parody. These pop-culture hits have taken this alumnus around the world, from New York to London and Dubai to Glastonbury, including stops in Singapore, New Zealand, and even Lucasfilm’s Star Wars conventions!
Prolific writer, performer, director, dramaturg and international Fringe icon, TJ Dawe will remount his play The Slipknot, which was performed as the very first “Spotlight” presentation in 2003. Dawe regularly performs his 14 autobiographical solo shows around the world. His play Toothpaste & Cigars (written with theatre alumnus Mike Rinaldi) inspired the Daniel Radcliffe movie The F Word. In The Slipknot, Dawe performs a spellbinding comic monologue about three equally lousy jobs—from stock boy, to driver, to post office customer service. In turns hysterical and heartbreaking, frantic and thoughtful, The Slipknot offers wise observations on relationships, Santa Claus, recreational Gravol, and why you should never put meat in the mail.
Cirque du Soleil clown and co-comedic director of Zumanity in Las Vegas, Shannan Calcutt returns for the festival with her hilarious solo show, Burnt Tongue. Calcutt, who is also a writer, actor and instructor, is best known as Izzy, the charming and radiant clown with a keen sense of timing and a razor sharp wit. In Burnt Tongue, Izzy has met a man on the internet and decides this is the guy for her! She arrives for their blind date wearing a wedding dress insisting she’s just “totally prepared to be spontaneous.”
This is all in addition to the Phoenix’s 50th Anniversary Mainstage Season, featuring Department of Theatre students, which begins in November with Les Liaisons Dangereuses, the Christopher Hampton play that was adapted into the Oscar-winning film, here directed by professor Fran Gebhard. In February, MFA candidate Alix Reynolds will direct Gut Girls by Sarah Daniels. With sharp dialogue and dazzling humour, Gut Girls is set in the Victorian era against the backdrop of women’s struggle for emancipation. The season closes with Nikolay Gogol’s The Inspector. Directed and adapted by professor Linda Hardy, this 19th-century Russian satire about greed, hypocrisy and corruption is no less relevant in today’s political landscape.
The Department of Theatre is also inviting all of its graduates to come back to campus for the 50th Anniversary Alumni Reunion, happening over the November 11-13 long weekend. The Phoenix will host three days of events for alumni to reminisce with old friends, and department faculty and staff. “It will be an exciting weekend,” says Department Chair Allana Lindgren. “There are already hundreds of alumni interesting in coming—and bringing their families with them. The Department is looking forward to reconnecting and hearing what everyone has been up to in their lives and their careers.”
Phoenix alumni can learn more about these events on a special 50th Anniversary website the department has created. As well as the reunion weekend and Alumni Festival, the anniversary website also features a complete history of the Phoenix Theatre presented through a fun interactive timeline of the department’s growth, the plays they have produced, their faculty and when they worked, as well as many successful alumni and when they graduated. Alumni can send in their own biographies to be posted or share stories and photos from the past.
Generations of Phoenix alumni have become successful artists, working across the world and playing important roles in Canada’s cultural institutions, including Michael Whitfield, Resident Lighting Designer for 35 years at the Stratford Festival; Denis Garnhum, most recently the Artist Director of Calgary Theatre and soon to be at The Grand Theatre in London ON; and Nathan Medd, the Managing Director of English Theatre at National Arts Centre. Many other alumni have created their own theatre companies that have become part of Canada’s cultural landscape, including Britt Small and Jacob Richmond of Atomic Vaudeville and the Broadway-bound hit Ride the Cyclone; Peter Balkwill of Calgary’s Old Trout Puppet Workshop; Ingrid Hansen and Kathleen Greenfield of the now Toronto-based SNAFU Dance Theatre; national three-time Canadian Comedy Award winners and CBC comedy writers Chris Wilson and Peter Carlone of Peter N’ Chris; and Kate Braidwood of Portland’s Wonderheads, to name but a few.
The Department of Theatre is also in the process of planning many other activities during the year, including an exhibition of Phoenix play posters at the UVic Archives, a human library event and historical displays. Stay tuned for more details!
Always looking for a new way to present work, the Department of Visual Arts has changed the format of their annual exhibition by graduating students of their MFA program. Rather than presenting one large exhibit featuring all the graduating MFA students, this year’s exhibition has instead been split into two different sections. The first, a three-week rotating Solo Series, ran in March; now, the final three exhibitions by graduating MFA artists Kerri Flannigan, Breanna Fabbro and Victoria Murawski will be on display.
The exhibit opens with a reception from 5 to 8pm Friday, April 29, and then runs noon-4pm daily to May 6 in the Visual Arts building.
Engaging with Kerri Flannigan’s work
Kerri Flannigan’s Catching Stones, Throwing Hammers uses drawings and archival footage to map the exterior of Woodlands, a now-defunct institution for the intellectually disabled, using changes wrought to the building’s façade since the mid-19th century to explore the institutional borders of exclusion. Flannigan is a Victoria-based interdisciplinary artist who explores methods of experimental narrative and documentary through drawing, writing, projection, and performance. She has shown locally and internationally, and is a recipient of the Best English Zine at the Expozine Awards (2011 and 2014) and runner-up to the inaugural Lind Prize (2016).
As part of her thesis defence, Flannigan will also present The Secrets of Naming Clouds, a performance accompanied by moving image work, projections, sound and live-narration; this 40-minute performance begins at 6pm on Thursday April 28 at the Intrepid Theatre club (2-1609 Blanshard), with thesis defense to follow. The performance itself will draw on utopic universal languages such as Blissymbols, an “anti-word” language designed to eradicate miscommunication and Láadan, a feminist language created to end patriarchy. These idealized forms of communication are interwoven with coming of age stories; home videos and choreographed dances, dating bans, classroom conversations on consent, teen-girl vigilantes and a family trip to LA in pursuit of minor celebrity Adam Sessler, my sisters crush.
Breanna Fabbro’s “It Held Only Briefly”
Breanna Fabbro’s It Held Only Briefly is a series of paintings that depart from the normative apperceptions of still-life in the traditional understanding of an object sitting still in space, but accede the moments before an object meets its final position. Objects are constructed out of shredded canvases and given life through actions such as tearing, raveling, and tossing. These moments of suspended motion are mobilized through painting the memory and experience of interactions with the objects as it relates to the space or scenario it is set against.
Apropos to life and mortality in the still-life canon, these works are a return to life and its inherent momentum, subsumed by discovery, failure, and regeneration. Objects in the world are alive – we make them alive with our constant interaction with them. Like food in still-life paintings that depict decay, all objects have a life. Fabbro’s work depicts that movement and process of coming and becoming.
Part of Victoria Murawski’s “Coming Forward in Waves”
Victoria Murawski will also present her work in the exhibit, Coming Forward in Waves.
Now complete, the Solo Series in March featured work by graduating MFAs Tristan Zastrow, Ryan Hatfield and Rachel Vanderzwet.
Acclaimed Canadian playwright and acting Department of Writing chair Joan MacLeod has won the 2011 Siminovitch Prize in Theatre. With a prize of $100,000, the Siminovitch is Canada’s richest theatre award.
“For well over a decade now my time to write has been steadily diminishing,” says MacLeod. “The Siminovitch award changes all that. What a generous and perfect gift. What a great reminder of what drew me to writing in the first place—there is joy to be found in creating a piece of writing.”
The Vancouver born-and-raised MacLeod is the author of nine plays, including such beloved works as The Shape Of A Girl, Amigo’s Blue Guitar, Homechild and Toronto, Mississippi. The Tarragon Theatre production of her latest play, Another Home Invasion, is currently on a national tour, and The Shape of a Girl has been produced continuously since its 2001 premiere. MacLeod’s plays have been translated into eight languages and she has received numerous awards, including the Governor General’s Award for Drama and two Chalmers Canadian Play Awards; this is her second time on the Siminovitch list, following her nomination in 2005. MacLeod also graduated from UVic’s Department of Writing in 1978—where she has taught since 2004.
“The jury wanted to recognize Joan’s unique voice, her masterful storytelling and the impact that her work has had among audiences in Canada and beyond,” noted jury chair Maureen Labonté, “Joan is a master of expressing the profoundest human emotions, putting to paper the vulnerability, the compassion, the weaknesses and strengths of the human spirit. Moreover, as a teacher, mentor and role model, she has no doubt inspired a generation of new Canadian theatre artists.”
Joan MacLeod was joined at the Siminovitch Prize gala in Toronto by former UVic MFA student Sally Stubbs and Department of Writing colleague Maureen Bradley, along with Fine Arts associate dean Lynne Van Luven (taking photo)
But while MacLeod may be cutting back on her teaching duties in the near future, don’t count her out of the department anytime soon. “It’s a very rewarding job,” she told the Globe and Mail about her position at UVic. “I love my students and I’m honoured that the teaching part of me is also part of this award.”
One unique aspect of the Siminovitch Prize is its designation of a $25,000 protégé award; MacLeod has chosen Toronto playwright Anusree Roy as her protégé, whose plays Brothel #9 and Pyassa have each won a Dora Award for Outstanding New Play.
Named for renowned scientist Lou Siminovitch and his late playwright wife Elinore, the Siminovitch Prize has awarded over $1 million in prizes since its 2001 debut. Previous winners include Toronto playwright Daniel MacIvor, Vancouver director Kim Colier and Calgary designer Ronnie Burkett.
Media coverage of MacLeod’s win has been brisk, with noticeable features in the Globe and Mail (“I’m so far from being the bright new thing, so it just feels great to be celebrated like this. It’s not something that happens often at this point in someone’s career.”), MacLean’s magazine (“”This is the big one. For a playwright in this country, it really doesn’t get better than this and it isn’t anything that I had imagined.”), CBC, theVancouver Sun and the front page of the local Times Colonist.
MacLeod also offered praise for her days as a student in UVic’s Department of Writing: “They believed in my voice and thought I had talent,” she told the TC’s Adrian Chamberlain. “That really meant a lot to me.”
From November 3 to 9, UVic will be celebrating International Education Week. Showcasing the significant contribution international education makes to our social, economic, and cultural well-being, IEW also supports Canada’s ongoing efforts to engage on the international stage.
Like to travel? Check out our exchange with Bangkok U (photo: Allan Stichbury)
Fine Arts will, of course, be participating in IEW. The Department of Theatre will be offering a panel discussion about their current student exchange between Bangkok University and Phoenix Theatre which was announced last year.
“There’s actually a lot of synchronicity between us,” Theatre professor Allan Stichbury said at the time. “Both departments are similar in size and have similar goals and objectives, balancing a sophisticated academic program alongside a very active production program—and both departments have very active Applied Theatre programs. The three prongs we have are the same as what they’ve got, which is actually remarkably rare.”
Learn more about Theatre’s student exchange with Bangkok University at the IEW panel discussion running from 12:30pm -1:30pm Wednesday, November 5, in Phoenix’s Roger Bishop Theatre.
IEW is packed full of information about international opportunities, and affords the chance to hear stories of international experiences and meet some of UVic’s international students and researchers from around the globe. Click here to read the full list of events—including info sessions about work & study abroad programs, film screenings, other panel discussions and more.
Theatre PhD Matthew Gusul (centre) at the field school in India
And you can find out more about Theatre’s other international initiatives by reading about PhD candidate Matthew Gusul, who is currently busy over in India running his intergenerational field school with 13 undergrads. (Be sure to watch this fun slide show of their first few weeks in India.)
Paphavee (Poe) Linkul, former UVic student and Bangkok University professor, with Allan Stichbury
The Department of Theatre’s exchange with Bangkok University was actually initiated by Theatre MFA and current Bangkok U faculty member Paphavee (Poe) Linkul. Intended to be a step towards internationalizing their university, Stichbury says, “This is not intended to remain simply an agreement between our Theatre department and their Performing Arts department; it’s intended to grow into a real relationship with Bangkok University.”
As the world gets smaller, UVic’s place in it keeps growing.
Art is often quite prescient. Be it science fiction or political satire, a tasty analogy or handy metaphor can be a welcome tool for many artists in an effort to comment on current happenings. But what happens when, 70 years later, a far-fetched idea becomes closer to reality than the original event?
French playwright Jean Giraudoux wrote La Folle de Chaillot during WWII when Paris was under siege by Nazi forces. Unable to address the political situation directly, he used metaphor as a way to protest the violent incursion of his beloved city; unfortunately, Giraudoux was in ill health when he wrote the play and did not live to see either its premiere or success after the war.
It was understood by audiences at the time that the evil and corrupt businessmen who were trying to profit from supposed oil underneath Paris — as portrayed in The Madwoman of Chaillot, which opens November 9 at UVic’s Phoenix Theatre — were stand-ins for the Nazis, whose occupation of the City of Light and much of France caused humiliation, hardship, and tragedy for the French Resistance, French-born Jewish people and those who had fled to France prior to the outbreak of war.
Giraudoux offers us a protagonist to work against these representatives of evil: Countess Aurelia, an eccentric holdover from a less cynical time. When she learns that her cherished neighbourhood of Chaillot is in peril because of the businessmen’s plans, she bands together with a rag-tag group of artists, vagabonds and dreamers to fight back. Fast-track to 2017, when oil pipelines are being driven through our communities jeopardizing wildlife and our environment, and suddenly Giraudoux’s artistic metaphors no longer seem like a far-fetched threat.
“We live in the era of climate crisis — something even Giraudoux may not have been able to even imagine,” he says. “With the Kinder Morgan pipeline expansion set to begin, we are forced to take the figures of evil in the play — bent on profit-making regardless of the costs — at their face value; for us their status as metaphor has disappeared.”
An essayist and dramatist who wrote 15 plays, Giraudoux also served France as a diplomat, government official, and a soldier in World War I. His writings often tempered tragic themes with rueful comedy, using allusive prose, allegory, fantasy, and political and psychological perceptions. The 1947 English translation of Madwoman by Maurice Valency holds to this day, and the play has seen a resurgence of interest in the last few years.
The set of Madwoman of Chaillot (photo: David Lowes)
The sets in the current Phoenix production — designed by recent Theatre professor and alumnus Patrick Du Wors — allude to the nostalgic café-lined streets of Paris, even though they are only flat, massive representations of 19th century engravings.
Costumes, designed by MFA student Michelle Ning Lo, have WWII-era references for the businessmen, and vibrant and flamboyant Edwardian-era frills for the “madwomen.” Lighting design by fourth-year student Matthew Wilkerson captures the streets of Chaillot and helps heighten the moments of comedic absurdity, as does the sound design by third-year student Logan Swain, featuring classic Parisian music that is slightly off-kilter.
Michelle Ning Lo’s costume designs
“The designers and I have taken a meta-theatrical approach to the production, eschewing realism completely for a play that operates in the realm of the fantastic, in the genre of post-modern performance as much as in comedy,” says Alexandrowicz.
Indeed, anyone who has seen past Phoenix productions by Alexandrowicz — including 2015’s Lion in the Streets and 2012’s Good Person of Setzuan — will recall his dynamic blend of imagery, movement and text.
Keep your eyes open for intentional elements of creative anachronism that will help to make comparisons to 2017 even more apparent.
—with files by Adrienne Holierhoek
The Madwoman of Chaillot runs at UVic’s Phoenix Theatre, 8pm Monday – Thursday from November 9 – 25, with 2pm Saturday matinees. Tickets range from $15 – $26 and can be booked by phone at 250-721-8000, or in person at the Phoenix Box Office. Recommended for ages 13+.