The reviews are in for Phoenix Theatre’s mainstage production of The Madwoman of Chaillot, and audiences are enjoying its “visual delights and thought-provoking observations,” as local arts writer Janis La Couvée writes in this review, which also highlighted the work of director and Theatre professor Conrad Alexandrowicz and his design team.
The Madwoman of Chaillot (all photos by David Lowes)
Describing the production as “a meta-theatrical spectacle of tremendous proportions, serving up visual delights and thought-provoking observations that will leave the audience questioning their role in the scheme of things,” La Couvée notes that “once again, Victoria is fortunate to have a theatre department where foundational work of this scale can be staged.”
In the Times Colonist review, Sarah Petrescu felt “the large cast of colourful characters and absurd plot are a rare malleable clay for interesting staging and direction,” and noted how “Alexandrowicz specializes in physical theatre and makes excellent use of movement . . . a table of bad men plots to destroy the city out of greed, rolling on chairs as they choreograph their scheme.”
Petrescu also highlighted the work of cast member Chase Hiebert, a Phoenix graduate and current writing student, as well as the set by Theatre professor and alumnus Patrick Du Wors as “a fantastic version of a café in Paris, built with massive black and white illustrated backdrops.”
This Monday Magazine review also singled out the work of Du Wors and graduate student costume designer Michelle Ning Lo, as well as undergraduate cast members Sarah Jean Valiquette and Nicholas Guerreiro, noting the “productions at UVic are . . . extremely professional and well-executed. One always has to admire the skill with which the drama department manages the challenging plays they choose.”
Writing for UVic’s student newspaper The Martlet, Jakelene Plan felt that “the theatrical design to come out of the Phoenix Theatre is often the most innovative and engaging work I’ve seen. It continually pushes the boundaries of what I expect and what I think is achievable, and the work done by Patrick Du Wors on set, Michelle Ning Lo on costumes, and Matthew Wilkerson on lighting design exceeds all my expectations.” Plan noted that “their unified vision of a colourful, cheerful Paris becoming infected by greed (represented by grey scale) is cohesive and complementary. …colour is an easy and striking way to draw attention to themes, but it’s the creative application that raises the technique from commonplace to spectacular.”
Over at Camosun College’s Nexus student newspaper, Leslie Do felt, “The Madwoman of Chaillot [was] a great performance . . . the action was perfect . . . . [and it] registers on a deeply human level.” She was also “especially impressed by the outstanding performance by Nicholas Guerreiro . . . his voice, his attitude, and his acting were absolutely incredible,” and concluded that director Alexandrowicz “brings a great performance to the audience with this play . . . [which is] definitely worth two hours of your attention.”
The Madwoman of Chaillot runs at UVic’s Phoenix Theatre, 8pm Monday – Thursday until November 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+.
While university may be the logical choice for many high school students, not everyone finds their path right after graduation: many opt to spend some time working or traveling before deciding on a specific field of study.
Recent Visual Arts grad Brandon Poole was principal photographer for “The Tom Thomson Centennial Swim” project in Ontario’s Algonquin Park in 2017 (photo: Paul Walde)
Brandon Poole made just such a choice, spending his 20s as a carpenter and electrician, hitchhiking across Canada, living on a sailboat; and the classes he did take (philosophy, photo journalism) didn’t lead to any specific path. It wasn’t until he decided to shoot a series of photos in downtown Vancouver’s back alleys that he had his academic epiphany.
“I was trying to find a way of resolving my myriad of skill sets without leaving anything behind,” says the 31-year-old Poole, graduating this month with a BFA in Visual Arts. “I like working with my hands, and I need an output that’s not just about writing and concept; it needs to be combined into a more overarching mode of work. Art school solved all those problems.”
He also spent a good part of this past summer working with department chair Paul Walde on his latest site-specific intermedia project, The Tom Thomson Centennial Swim. Poole traveled to Ontario’s Algonquin Park where he put his camera skills to work as the primary videographer documenting Walde’s complex project, as well as handling logistics and equipment purchases.
Poole and his Fifty Fifty exhibit (photo: Monday Magazine)
“All of these opportunities provided me with a well-rounded understanding of what’s possible in an academic situation for arts-based work, as well as the outside opportunities that exist,” he says. “It’s simply more skills to bring to the table for whatever I choose to do next.”
As for what is next, Poole says the next logical step is pursuing an MFA back east. “I draw a lot of strategies from journalism, from photography, from the building industry and architecture — and the outputs of those are videos, photographs, sculptures, and drawings, all of which get tied together in a specific space. The works aren’t enough on their own; the space is always highly considered.”
For a guy who never would have described himself as an artist before attending UVic, Poole has indeed found his path. “I really think the undergraduate program here is fantastic,” he says. “It’s especially useful for encouraging the cohesion of skills and interests.”
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+.
Sometimes the most inspiring work occurs while students are still enrolled in university. Consider MFA Connect, an inter-institutional visual arts exhibit that literally connects UVic Visual Arts MFA candidates with fellow graduate students at UBC Okanagan.
Works by Conner Charlesworth & Crystal Przybille
Organized by second-year UVic MFA candidate Marina DiMaio, MFA Connect runs November 6-10 in UVic’s Audain Gallery in the Visual Arts building; the first part of the exhibit ran October 10-20 in the FINA Gallery at UBC Okanagan’s campus in Kelowna.
“MFA Connect is like a conference for visual arts,” says DiMaio. “Other departments make these kind of ‘connections’ all the time, but when we get together we share a visual language. This is about challenging each other’s research, getting our research out into the world, creating our own opportunities, establishing communities, and continuing the larger conversation of the place of the visual arts in an academic institution.”
As emerging artists and creative researchers, it’s essential for MFA candidates to connect with both local and international art centers, and to encounter and share visual methodologies. With that in mind, MFA Connect aims to deepen and challenge graduate student practices, as well as equip the larger academic communities with new records of interdisciplinary understanding.
David Michael Peters helps install the exhibit at UVic
“The academic community we are temporarily placed in while being in an MFA is perhaps the most valuable part of being here,” she says. “We have an immediate network of support, of individuals striving towards similar goals with a common passion for creative research.”
The first in what’s hoped to be a series of MFA art exchanges, MFA Connect will showcase the work of six UVic MFAs — Conner Charlesworth, Leah McInnis, David Michael Peters, Evelyn Sorochan-Ruland, Xristia Trutiak, and Di Maio herself — and five UBCO MFAs: Steven Thomas Davies, Jessica Dennis, Joe Fowler, Crystal Przybille and Meg Yamamoto.
“Conceptually, we are all working in very different ways,” DiMaio explains. “You will find some similarities in the general tendencies of each program toward materiality, craft, and the handmade — the show is filled with objects pointing toward a physical human experience — but this show ultimately finds its affinities in the ongoing conversation of visual art as a form of research.”
Pieces on display will tackle concepts ranging from discussions of labour and conversations with the history of art to investigations into process and material politics, explorations of internal and external gender identity, studies of soundscapes and perceptual experience, the mapping of place and possessions, and an examination of Indigenous rights and truths.
“We’re only in our MFAs for two years,” DiMaio concludes. “That goes by fast and we need to make the most of our time here and take advantage of all the opportunities that are available to us.”
MFA Connect runs 10am-4pm Monday-Friday, November 6-10 in the Visual Arts Building’s Audain Gallery, with a closing reception beginning at 4:30pm on Thursday, November 9
Named for UVic alumnus Harvey Southam — who, before his unexpected death in 1991, worked as a journalist before serving as director for a number of companies owned by one of the country’s leading publishing families — this influential journalist-in-residence program sees a mid-career writer join the Writing department each year to teach a course and give a public lecture on their chosen topic. Courses have varied widely, ranging from print and broadcast journalism to sports, humour, popular culture, Indigenous perspectives on storytelling, and changes in the media landscape itself.
Now you can join the Writing department in celebrating a decade of this prestigious position with a special 10th anniversary panel: “The Future of Journalism in the Age of #FakeNews” brings six former Southam Lecturers together for the first time for a lively moderated discussion at 7pm Tuesday, November 7, in room 105 of UVic’s Hickman Building.
“The idea for the panel was sparked by a perfect convergence,” says Writing chair David Leach, author of Chasing Utopia: The Future of the Kibbutz in a Divided Israel. “A chance to mark the 10th anniversary of the Southam Lectureship, the opportunity to thank the Southam family for their generosity, and to respond to a sense of global urgency around the role of journalists as guardians of our democratic institutions — especially when the most powerful elected official on the planet keeps attacking the free press as #FakeNews.”
Leach, who will act as emcee and moderator, will be joined by recent Writing grad Quinn MacDonald — now the publisher/editor of the local urban agriculture magazine Concrete Garden — as well as six returning Southam Lecturers:
Jody Paterson: former Times Colonist columnist, whose course focused on experiential and activist journalism
Terry Glavin: current Ottawa Citizen columnist and author of Come From the Shadows: The Long and Lonely Struggle for Peace in Afghanistan, who focused on foreign affairs
JoAnn Roberts: CBC veteran and retired host of CBC Radio’s All Points West, who focused on public broadcasting
Tom Hawthorn: freelance writer and author most recently of The Year Canadians Lost Their Minds and Found Their Country, who focused on sports media
Mark Leiren-Young: freelance writer, whose most recent book is The Killer Whale Who Changed the World and whose course focused on satire
Vivian Smith: former Globe & Mail editor and author of Outsiders Still: Why Women Journalists Love — and Leave — Their Newspaper Careers, who focused on women in journalism
“All were keen to talk about their experiences as guest lecturers and debate the future of journalism,” says Leach. “Taken together, it offers a broad range of ways to look at contemporary journalism.”
Jo-Ann Roberts holds the crowd’s attention at her public lecture in 2013
And it’s that diversity of voices and experiences that sets the Southam Lectureship apart from other courses with embedded journalists. “We try not to think of ‘journalism’ in too narrow or stereotyped of a way,” he continues. “We are always looking for a different voice, a different background, a guest lecturer who has an interesting ‘hook’ that will interest both our professional writing students and also curious undergraduates from across campus.”
Fake news causes outcry
Given the almost daily outcry over “fake news” — both real and perceived — in the media today, is Leach legitimately concerned about the future of journalism?
“Absolutely, we should all be. There are very powerful forces — political and corporate, domestic and international — feeding misinformation to the general public in ways that undermine our democratic institutions, increase inequities and even incite hatred against vulnerable groups of people,” he says.
Terry Glavin at his lecture in 2012
“The role of good journalism has always been as a BS detector that speaks truth to such abuses of power. We need to remember and support that vital function before we all disappear into our private filter bubbles of socially mediated information in which we only hear echoes of our own points of view and declare anything contrary to our own biases as #FakeNews.”
Not that the solutions aren’t without their own challenges, says Leach. “How do we fund the time-consuming and often dangerous investigative work that is the beating heart of great journalism? And how do we inspire and train the next generation of intrepid writers and reporters to do that work?”
The answers to those questions will come from the panelists themselves, along with recent Writing grad Quinn MacDonald — not only a graduate of the Professional Writing Minor in Journalism & Publishing and a teaching assistant for many of the Southam Lecturers, but is already out in the trenches herself.
Tom Hawthorn’s sports talk was a crowd favourite in 2014
“Quinn is the future of journalism, so we figured we better get her thoughts,” says Leach. “I want to hear how she can connect the hard-earned wisdom from our six other panelists to the kind of journalism needed to inspire her generation . . . and the generations to follow.”
Looking ahead to the next decade (and beyond), does Leach have a “dream list” for future Southam Lecturers? “I’d love to attract more writers and reporters with strong voices who are also shedding light on communities and stories that are under-reported by our traditional media: people like Kamal Al-Solaylee and his investigative book Brown: What Being Brown in the World Today Means (to Everyone), or culture writer Scaachi Koul and her work for BuzzFeed, as well as her personal memoir and Twitter presence. Or perhaps some of our own graduates, such as Rebecca Collard, who has been doing fearless reporting about the various conflicts in the Middle East.”
Richard Wagamese talks to a packed house at his public lecture in 2011
Finally, the evening will also include a memorial to former Southam Lecturer, Richard Wagamase, who passed away earlier this year. “His course challenged our students to think about First Nations history and forms of storytelling in new ways,” says Leach. “He was an amazing presence when he was here as a guest lecturer.”
And while this event celebrates the first decade of the Southam Lectureship, the 2018 Southam Lecturer is ready to go: Judith Pike is a social-issues documentary filmmaker, whose January class and public lecture will look at investigating and telling stories through film, and reaching different audiences.
Whatever the future holds for our students, there’s no denying the first 10 years of the Southam Lectureship have laid a strong foundation for whatever comes next.
This event is free and open to the public. It will be followed by a book signing and reception.