Performer, artistic collaborator and educator—Benjamin Butterfield continues to make an indelible impression on the future of Canadian singers and on audiences worldwide. He is a tenor of international renown, with a repertoire ranging from baroque to classical to contemporary. This much-loved School of Music professor is now the 2015 winner of UVic’s Craigdarroch Award for Excellence in Artistic Expression.
Benjamin Butterfield (UVic Photo Services)
“Benjamin Butterfield is an outstanding performer, artistic collaborator, and educator, whose body of artistic work and song serves as a link to a greater sense and understanding of one’s self, others, and the world around us,” says Dr. Susan Lewis, Acting Dean of Fine Arts. “The measure of Professor Butterfield’s impact on the musical world can truly be found in how he applies his talent and expertise to the training of a new generation of singers at the School of Music. He makes the difference for young singers, providing both inspiration and sound teaching to prepare them for the world stage.”
Butterfield’s artistic knowledge and production experience is broad, versatile and widely recognized by peers, critics and audiences for its quality and impact. He has performed with the world’s top musicians and conductors, and is highly sought-after as a teacher who transforms young singers into emerging professional artists. Many of his students have gone on to give performances with major opera companies and symphonies throughout North America.
“This award clarifies the value that the University of Victoria places on the arts by acknowledging artistic expression as a point of recognition amongst it’s community members,” says Butterfield. “To be included with scientists, scholars, historians, technicians and health professionals sends a valuable message that the whole is made stronger by the sum of it’s parts. This award also helps me clarify for myself the importance of continuing to grow and learn as a singer, educator and human being.”
Butterfield, dressed for success on the stage
As an example of how busy Butterfield is during his off-campus hours, he is performing at two prestigious music events this summer alone: the Ukrainian Art Song project—which will find Butterfield at the Glenn Gould Studio this July recording alongside the acclaimed likes of fellow Canadian vocalists Russell Braun, Virginia Hatfield, Andrea Ludwig, Krisztina Szabó, Monica Whicher and Pavlo Hunka as part of the overall project to record 1,000 Ukrainian art songs by 26 composers as an extraordinary musical legacy to the world—and at Vermont’s famous Yellow Barn Concerts, which presents 23 concerts between July 10 and August 8.
“Music binds, educates and serves—the human voice is common to us all and is at the very core of our collective abilities, story telling and passions. Music can heal and rally, console and inspire. It is a reflecting pool for our common struggles and joys,” says Butterfeld. “Our world today is full of seemingly insurmountable obstacles and conflicts presenting a complicated and challenging future. There has never been a better time to sing. It helps one find the strength of character to be inspired, find solace and understanding and to know our responsibilities towards this world. As a performing artist, how do I inspire others to better appreciate the world around us? By singing about it.”
Butterfield teaching one of his students
And, considering the range of students he’s had over the years, what kind of impact does Butterfield see UVic graduates having on the world? “An old sailor once said, ‘There are two kinds of people in this world: those who have hit a coral reef, and those who are going to hit a coral reef.’ UVic grads know that true success comes from developing the strength of mind to negotiate and manage failure; they are taught to deal with life’s inevitable ups and downs through UVic’s faculty, staff, facilities and location,” he says.
“They become committed, thoughtful and interested contributors to our society rather than focusing on self serving ventures. Our music grads in particular achieve this through learning to communicate through their music, developing their point of view and by taking chances every day. Their impact on the world is simple: they make music.”
Butterfield joins the likes of previous Craigdarroch Award winners Harald Krebs, Lorna Crozier and Marcus Milwright. The Craigdarroch Research Awards were established in 2003 to recognize outstanding research-focused and creative contributions at UVic, and were named for Craigdarroch Castle—home to UVic’s predecessor institution, Victoria College (1921-1946).
You can view Craigdarroch winners’ “Faces of UVic Research” videos here.
Love sports? Play an instrument? With the brand-new Vikes Band course, you can now combine both—for credit!
Join the Vikes Band & help jazz up the games! (photo: APShutter.com)
A new initiative between the School of Music and Vikes Athletics, Vikes Band (MUS 189) is a new for-credit course that will rehearse and perform at Vikes Varsity events and special events on campus. If you played in your high school band or just play for fun, you can still put those skills to use to play game-day music—even if you aren’t a Music major.
“The Vikes Band will make an incredible contribution to creating the most unique and exciting venue in Canadian Interuniversity Sport,” says Vikes Athletics director Clint Hamilton. “Joining the Vikes Band will make you part of our team as we make our athletic venues energizing, fun and inspiring for our home crowds and a challenge for our visiting opponents. The Vikes Band will be a great way to engage with UVic and show your team spirit as you join Vikes Nation and bring your talents to the team!”
Blow your horn—for credit—in the Vikes Band (photo: APShutter.com)
Open to any student with the basic ability to play a band instrument, Vikes Band is a 1.5 unit course that can even be taken more than once, to a maximum of six units. Better still, there’s no audition necessary!
“This band is both a way to increase school spirit and bolster the atmosphere at sporting events while also giving a fun musical outlet for UVic’s entire population,” says School of Music professor and Vikes Band leader Scott MacInnes. “A dedicated Vikes Band is something that has been a long time coming—and now that it’s here there’s a buzz around the entire city that’s so exciting.”
While the School of Music jazz band has been playing at key Vikes games since 2013, the idea of creating a dedicated band course has been in the works for a couple of years now. “Now that UVic has a top-notch athletics facility like CARSA, it seems only logical that there is a dedicated ensemble to bring live music to already great sporting events,” says MacInnes. “Having a live group at the games will create a level of excitement and energy that will be felt not only by the fans but also by the Vikes athletes.”
Vikes Nation ambassador Dan Mecham is already pumped about signing up for the Vikes Band course!
Current student and Vikes Nation ambassador Dan Mecham has already decided he’ll be enrolling in the Vikes Band course. “I’m really keen on school spirit,” he says. “I was on the pep band in high school and I love the atmosphere of people coming together, all united over something like a game. That’s really big for me.”
Mecham, who went to high school in Sacramento, California, immediately noticed the difference between American games with bands and Canadian games without. “In high school it made a huge difference having the band there,” he says. “At first it was just at the football games, but eventually all the sports teams were requesting we show up to their big games. I’m sure we can create the same atmosphere here at UVic, where people will recognize how much the music adds to the energy and enthusiasm.”
MacInnes is already working on a play list for the Vikes Band (“our repertoire will span popular tunes like ‘Sweet Dreams are Made of These’ and the Rocky theme ‘Gonna Fly Now’ to Balkan gypsy music and New Orleans jazz-style tunes, as well as the Vikes Rally Song by Music teacher Colleen Eccleston”), and says he hopes the Vikes Band will attract the more “energetic and outgoing” students. “A group like this gives students the opportunity to hone their skills and foster
Music student Josh Lovell belts out the Vikes Rally Song before a game (photo: Armando Tura)
relationships with students from other parts of campus that will no doubt last into their professional lives.”
Given that this course is open to anyone who can play an instrument—even if you’re not a Music major—even a super-fan like Mecham is eager to sign up. What’s his instrument? “I played a little marching xylophone in the high school pep band, so I’m going to see what I can do to make that work here.”
Ultimately, Mecham—who plans on becoming an elementary school teacher—compares the Vikes Band to the Vikes Cheer Squad. “It’s part of that whole game-day atmosphere,” he says. “It will be great to both get credit for it and to have that mandatory practice time. I’m optimistic about the whole course!”
Remember, no audition is necessary and Vikes Band is open to any student with the basic ability to play a band instrument, and can be taken more than once.
REGISTER HERE FOR VIKES BAND!
An award-winning author, a publishing visionary, a pioneer in on-campus computing and an early Writing department chair—David Godfrey was all this and so much more. The Department of Writing is saddened to announce the passing of this former professor at the age of 77.
David Godfrey, seen later in life at his Cowichan Valley vineyard
The winner of the Governor General’s Award for English language fiction in 1970 for his novel The New Ancestors, Dave Godfrey was also the co-founder of iconic Canadian publisher House of Anansi, as well as the New Press and was the editor of Press Porcépic—which became the publishing house The Porcupine’s Quill. Chair of the Writing department from 1977 to 1982, Godfrey retired from the department in 1998 to operate the 60-acre Godfrey-Brownell Vineyards in the Cowichan Valley.
“I was an admirer of Dave Godfrey’s writing long before I joined him in the Department of Writing,” notes retired Writing professor Jack Hodgins. “His great novel The New Ancestors seemed to be opening up something new in Canadian fiction. That he had attended both the famous Iowa State and Stanford writing programs made him a valuable colleague in a writing program. I was impressed, too, that he had been one of those Ontario writers—like Matt Cohen and several others—who were creating a new Canadian literature for our generation. Somehow he made me feel welcome to join him in this enterprise.”
Born in Winnipeg, Godfrey was educated at Trinity College at the University of Toronto, Iowa State University and Stanford University, and taught English and music in Ghana for several years during the 1960s. Upon his return to Canada, he taught at U of T before arriving at UVic. As the Globe & Mail noted in this obituary, Godfrey’s time at what is now the Iowa Writers’ Workshop (where he earned an MFA in 1963 and a PhD in 1966) was foundational. “He was mentored by the novelist Hortense Calisher, taught by Malcolm Cowley, played tennis with Philip Roth, hung out with Larry McMurtry (Lonesome Dove) and Ken Kesey as Mr. Kesey worked up the manuscript for One Flew
Godfrey seen during his time in the Writing department
Over the Cuckoo’s Nest, and made wine with Raymond Carver.”
Current Writing professor Joan MacLeod had Godfrey as a professor when she was an undergrad in the Writing department back in the 1970s. “He had a strong reputation not only for his editorial skills but also his fiction. He co-taught the fiction workshop I was in, where I started a novel that eventually became my MFA thesis,” she recalls. “He was incredibly good to me and incredibly supportive. He made me feel like I had a voice.” Fast-forward 25 years to when MacLeod’s play The Shape of a Girl was playing at the Belfry Theatre. “He came down from his home up-island to attend the play. It was so great that he had kept up with me a little bit.”
Retired Writing professor Lorna Crozier remembers Godfrey as being “generous, sharp and excited about ideas and young people. He was a central figure in the Canadian renaissance, in our belief that our own stories have value. We need more of his kind now.” (Indeed, Godfrey is described as a “modern-day renaissance man” in this 2007 article from BC Business magazine about his vineyard—which also played host to the 2013 Rock of the Woods music festival.)
Dave Godfrey’s legacy lives on in the three publishing houses he helped create. House of Anansi Press was
Farley Mowat (left) & Dave Godfrey at UVic in 1982 (photo: UVic Archives)
founded in 1967 by Godfrey and writer Dennis Lee as a small press with a mandate to publish Canadian writers. It quickly gained attention for publishing the likes of Margaret Atwood, Matt Cohen, Michael Ondaatje, Erín Moure, Roch Carrier, Marie-Claire Blais, Anne Hébert, George Grant and Northrop Frye. House of Anansi still thrives today, as does the New Press—which focuses on “books that promote and enrich public discussion and understanding of the issues vital to our democracy and to a more equitable world”—and The Porcupine’s Quill, an “artisanal publisher that values the art and craft of the book, both in content and in form.”
More than just a writer and editor, however, Godfrey was at the cutting edge of the cultural side of computer technology, arguing that decentralized data and computer communication were extremely important for art and literature. In 1979, he co-edited (with Douglas Parkhill), Gutenberg Two, focusing on the social and political meaning of computer technology, and co-wrote The Telidon Book (with Ernest Chang), about electronic publishing and video text. He also founded a software development company called Softwords—which eventually grew to a staff of 22 with annual sales of about $1 million.
“Dave helped hold the department together not long after its difficult birth,” recalls former departmental colleague Derk Wynand. “He also played a huge role in bringing us into the 20th—and perhaps 21st—century, with his expertise in computers and business.”
Godfrey working on the telecommunications research Project Cue, with Writing co-op students Rhonda Roy & Michael Quinlan. Project Cue promoted electronic communication using the CoSy conferencing system. (OVPR)
“He was ahead of his time,” agrees Crozier. “He was into computers at the start, before any of us dreamed of giving up our pens and booklets, and he insisted that the department get on board. He was also a proponent of the Co-op program because he was that rare thing—a businessman as well as a writer.”
Described by Wynand as “one of the pioneers of UVic’s Co-op Program,” retired Humanities, Fine Arts and Professional Writing Co-op coordinator Don Bailey recalls Godfrey as “the founding chair” of the Writing Co-op. “He was very committed to introducing students with a flair for writing—and some digital competencies—into careers in the communications, publishing, journalism and tech sectors. He was somewhat of a visionary in this regard.”
Godfrey’s GG-winning novel
Noted author and Writing alumnus Richard Van Camp named Godfrey as one of the UVic Writing professors who led his “spiritual adventure” and “nurtured my hunger as a writer.” Together with the likes of Crozier, Hodgins, Patrick Lane, Marilyn Bowering, Bill Valgardson and Stephen Hume, Van Camp notes their collective “dedication to the structure and magic behind a story was contagious. It was at [UVic] that I learned about theme, that sacred thread that binds characters, intent and story together. I also learned about tone and I learned how to tighten dialogue to make it snap with energy. And I learned the hardest lesson of all: Writing is rewriting.”
One of Godfrey’s children, Rebecca Godfrey, is also an award-winning novelist (Torn Skirt) and non-fiction writer (Under the Bridge), as well as a professor of creative writing at Columbia University.
Posting on Godfrey’s Facebook page, former student Judy Keeler recalls him as “a pioneer, a rebel, a genius who reinvented himself and fought for talent.” That’s pretty tough to beat when it comes to an epitaph for a lifelong writer, editor and educator like David Godfrey.
Like many MFA students in the Department of Theatre, director Chari Arespacochaga came to UVic already armed with a strong resume and extensive experience in theatre. A native of the Philippines, Arespacochaga directed professionally in Manila for many years, casting big foreign stars, and touring shows across Asia. Her resume is teeming with major productions of Broadway’s best and most popular musicals including Spring Awakening, Legally Blonde, Avenue Q, The Little Mermaid, Aladdin and Rock of Ages.
Directing MFA Chari Arespacochaga (photo: Adrienne Holierhoek)
So why leave a successful career to travel across North America and return to school? “I didn’t want to rest on my laurels in Manila. Doing my MFA meant starting fresh in a new community so that I could improve myself and my craft,” says Arespacochaga. “When I was researching different programs, I noticed that UVic’s directing MFA was not only very successful, but very competitive—only one person is admitted each year. I thought it would be very challenging and I would be able to focus completely on exploring plays and directing work within a department that has the resources and support to make my ideas a reality on stage.”
Arespacochaga was also looking forward to working in the department’s extraordinary facilities and mentoring with the diverse faculty. “I loved that there were three different spaces in which I could explore staging possibilities in,” she says. “And the faculty has a great diversity of experiences and approaches to creating theatre. I thought this would be beneficial to expanding my ideas and directing process.“
A scene from Phoenix Theatre’s Amadeus (photo: David Lowes)
While musicals have a special place in Arespacochaga’s heart, for her MFA thesis production she decided to explore music within a more classical-style play and chose Amadeus, Peter Shaffer’s Tony Award-winning fictional play (later a Oscar-winning film) about Wolfgang Amadeus Mozart and his rivalry with Antonio Salieri.
“I was taken by the poetry in Shaffer’s writing and believed that the questions this play asks about the nature of art were very important. What is our accountability to our talent? Is it a gift from a God, or can it be developed? How far would you go to achieve success?” she says. “These are fascinating ideas to explore in school where people are trying to become artists.”
Amadeus director Chari Arespacochaga interviewed on CTV VI
Staged in March as part of the Phoenix Theatre’s mainstage series, Amadeus was called “bold and ambitious,” garnering a 4.5/5-star Times Colonist review and a nearly sold-out run. Directing a cast of 16 student actors, Arespacochaga was also able to work with a majority-professional creative team, including professor Allan Stichbury, retired Stratford lighting designer Michael Whitfield, sound designer Brian Linds, choreographer Jacques Lemay and award-winning student costume designer Pauline Stynes.
Returning to school has also opened up Chari’s perspective on theatre. “I love a good musical, but there are so many other genres of theatre that you might not get to do in a commercial environment—so many ways to do theatre, and so many scripts to create theatre with. There’s always something to be excited about, always something to explore.”
For Arespacochaga, coming to Victoria was a stepping-stone to bigger and better things. “As a director, it’s important to venture into bigger theatrical centers and to keep discovering new ways of creating and approaching theatre. I left Manila to broaden the spheres that I create theatre in,” she says. “What’s next?” she laughs. “I am keeping my bags packed and then I will disappear into Vancouver or Toronto or New York or London or wherever the work takes me . . . and emerge with a Tony Award.”
This article originally ran in the June 2015 issue of UVic’s Ring newspaper
When it comes to stage design, the Prague Quadrennial is as good as it gets—and this year, a pair of Theatre alumni will help represent Canada. “It’s the Venice Biennalie of stage design,” says Department of Theatre professor Allan Stichbury. “It’s the top in terms of recognizing stage design in the world.”
The nominated design for the Belfry Theatre production of The Turn of the Screw
With top stage designers from 80 countries, the Prague Quadrennial is the biggest theatre exhibition in the world. Canada will be represented by six different submissions at the June 18-28 event, selected from 33 entries by the three-person jury—which included Stichbury. Among those entries was the Belfry Theatre’s 2008 production of Turn of the Screw, which featured the design work of Phoenix alumni Patrick DuWors (set & lighting) and Erin MacKlem (costumes), plus frequent Phoenix contributor Brian Lynds (sound).
Much like any major international competition, the Canadian teams will be competing for gold, silver or bronze awards. Stichbury—who, along with Theatre professor Mary Kerr, has exhibited at the Prague Quadrennial before—will also be taking 13 current Phoenix students to the event.
“Our students have exhibited in the student exhibition since 1995—and they will again this year—but it’s not the same as being juried into the competition,” he notes. “But it’s still an amazing opportunity. The attendance is supposed to be about 80,000 people—and a huge percentage of that will be students, so our students get to meet colleagues from all over the world.”
As for the competition itself, Stichbury said the jury was obviously impressed by the stunning Belfry design by DuWors and Macklem. “It really met the criteria of inserting itself into the heart of the production—not just paying it lip service or commenting on it.”
Macklem, who graduated with a BFA in 1998, has been the Artistic Associate & Outreach Coordinator at the Belfry for nine years now and is “thrilled” at being selected. “The event itself is so inspiring—it gives you a sense of the national identity of the aesthetic of different places, and how the approaches to scenography vary according to geography.”
While she has attended the Quadrennial in the past (in fact, her
A stylish Erin Macklem
Turn of the Screw design was inspired by a Latvian entry she saw there), Macklem won’t be going this year due to family and production commitments. “I told Patrick that we’ll just have to work together on something exciting in the future so we get invited again,” she laughs.
Regarding the acclaimed design for Turn of the Screw, Macklem credits fellow Phoenix grad DuWors with the initial concept. “Patrick really took the lead on it with the idea of it being all black and white with a crazy modern red staircase,” she recalls.
“When I heard that he wanted a contemporary take on the Gothic period, I realized I wanted the costumes to key into the script and be true to period, so we didn’t go too far afield. The pieces themselves were very much from the period but they all had a satin contrast fabric sewn onto them so it would outline them and catch the lights in a certain way—the floor was also very high gloss, so we tried to incorporate the idea of light playing off the darkness.”
The very fact that the Belfry was mounting a Henry James piece originally written in 1898 also made the
Patrick DuWors (photo: Jae Kyun Im)
production memorable for her. “The Belfry specializes in contemporary shows, so doing a Henry James piece was weird and outside of the mandate, even though it was a modern adaptation of the script,” she says. “To approach it with a very contemporary eye to the design made it feel like it was more a part of the world the Belfry’s audience was accustomed to. People still say, ‘what was that one with the crazy red staircase?’ It’s fun that it left that much of an impression on people’s imagination.”
Macklem is also quick to credit her UVic training for her current success. “I had a great experience with the design department,” she says, citing Mary Kerr, past instructor Debra Hansen and Stichbury himself. “Allan is very much a director’s designer, which put me in good standing and helped me understand how bodies move through space, how you really need to analyze a play’s text to understand the traffic patterns—what the positions of power are and how to optimize those in the design.”
She also notes how the variety of design experience at UVic better prepared her for future employment. “I did more set design in school but there were more opportunities in costume design out of school, so I switched to that,” she explains. “But I had the advantage of both Mary Kerr and Debra Hansen alternating in the teaching position, so it was great to have different perspectives from different teachers.”
Macklem’s design work for Eleemosynary at the Phoenix
When asked for a standout production from her student years, Macklem points to the 1997 Phoenix show Eleemosynary. “It was all-student design, and we were all undergrads, which was quite rare,” she explains. “It was really quite a utopian experience—we were all on the same page—and that really came though in the design. It showed all of us how you can transform a theatre, take the set off the stage and into the audience and how much that can change things.”
Stichbury notes that it’s the Department of Theatre’s unique hands-on approach that makes it outstanding in a crowded university field. “Unlike many Canadian universities, our students actually get to design something and put it on a stage,” he explains. “At the undergrad level, most universities have faculty members exclusively designing, but we allow our best undergraduates to do it—so when they get out into the profession they’re much more capable of stepping up at an earlier date than many others. They learn by doing—don’t get me wrong: learning by theory is great, but you also have to practice. Our students get more opportunity to do that on a significant scale than most do.”
Ultimately, Stichbury already sees both Turn of the Screw and UVic as winners in this year’s Prague Quadrennial. “It’s fantastic that UVic is represented in at least one of the six shows,” he says. “It’s already a big victory, because there’s a lot of pretty amazing stuff out there across Canada.”