DOCSLIB.ORG

Canadian Women Director's Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Canadian Women Director's Catalogue The Canadian Women Director’s Catalogue A COMPREHENSIVE LIST OF WOMEN DIRECTING IN CANADA Copyright © 2011 Nightwood Theatre and the Professional Association of Canadian Theatres. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, without written permission from the publishers. ISBN – 10: 0-921129-46-7 ISBN – 13: 978-0-921129-46-2 Nightwood Theatre 55 Mill Street, Suite 301 Case Goods Warehouse, Bldg. No. 74 Toronto ON Canada M5A 3C4 Professional Association of Canadian Theatres (PACT) 215 Spadina Ave, Suite 555 Toronto, ON M5T 2C7 Photo of Maggie Huculak, Gemma James-Smith, Dylan Smith, Sarah Dodd and Clare Coulter by Guntar Kravis Welcome I am so pleased to present to you with The Canadian Women Director’s Catalogue. In 2002, I co-spearheaded Equity in Canadian Theatre: the Women’s Initiative to examine the status of women in Canadian theatre. Over the last ten years Nightwood Theatre has partnered with the Playwrights Guild of Canada and the Professional Association of Canadian Theatres to continue research and advocacy for our country’s female practitioners. One of a number of disconcerting fi ndings, revealed the lack of female Artistic Directors at the country’s larger theatres. Yet another fi nding showed that those women who were Artistic Directors had better track records of hiring female playwrights and directors in their theatres. The solution seemed obvious: promote more women into AD positions across the country. But the monkey wrench, as I saw it, was that unless women had the opportunity to direct on the bigger stages they would never be considered “eligible” when those jobs came up. This in part is the motivation behind this catalogue. Gender aside, here are some of Canada’s most talented established and independent directors. Peruse these pages, get to know a wider pool, and next time you ask that fateful question “who might be a good director for this?” think of The Canadian Women Director’s Catalogue. Did you know that women are the primary ticket buyers in our theatres? It would be great to match that statistic with more representation on our stages. Let’s get more women working in Canadian Theatre. Happy reading! Kelly Thornton Artistic Director Nightwood Theatre Dedication The Canadian Women Director’s Catalogue is dedicated to the memory of Gina Wilkinson, an extremely talented director and a beautiful human being. In her application she described her work which, in essence, is a perfect summation for all of us in our role as directors. “My focus is the rigor and discipline of clear storytelling. Collaboration is all. I come from a background of dance and visual art, and in my work with designers, my desire is to ignite the fi re of confl uent imaginations. Out of that union must come the space for the ultimate alchemy - the actors’ process. I’m there to safeguard Story, yes, but beyond that, to help the artists, and therefore myself, defeat the limitations of fear.” SPECIAL THANKS The Professional Association of Canadian Theatres and the PACT Diversity Committee, Lucy White and Boomer Stacey, Nightwood Theatre, Denyse Karn, Monica Esteves, Hilary Green, Michelle Alexander, Kelly Straughan and Hope McIntyre (Co-Chair, Equity in Canadian Theatre). Women Director’s Catalogue Lynda Adams (Established Artist) Red Deer, Alberta 407, 4805-45 Street Red Deer, Alberta T4N 7A9 [email protected] | (403) 341-4418 Union Affi liations: Non-Equity Language (s): English Lynda Adams is an award winning director, dramaturge, choreographer and performer. Over the last twenty years she has directed, choreographed and/or created for Prairie Theatre Exchange, Catalyst Theatre, Northern Light Theatre, Free Will Players and numerous post secondary theatre programs across Canada. Lynda was artistic associate at Northern Light Theatre in Edmonton for six years, where she received the ‘outstanding choreography’ Sterling Award for Daniel McIvor’s 2-2 Tango. She is dedi- cated to directing new works by Canadian playwrights and continues to collaborate with other theatre professionals creating provocative movement based work. MA – Movement for the Actor, City University of London (Laban Centre) SHOW COMPANY PLAYWRIGHT YEAR Wuthering Heights Red Deer College Vern Thiessen 2010 Thy Neighbour’s Wife Prime Stock Theatre Tara Beagan 2009 Dada Play Red Deer College Mieko Ouchi 2007 The Oedipus Project Northern Light Theatre Adams/Folkmann/Schultz 2001 File O – a Theatre Poem Northern Light Theatre Mou Sen 1999 1 Women Director’s Catalogue Vikki Anderson (Established Artist) Toronto, Ontario Agent-Catalyst TCM 100 Broadview Avenue, Suite 310, Toronto, ON M4M 3H3 [email protected] | (416) 645-0936 Direct: [email protected] (416) 504-3898 Union Affi liations: Non-Equity Language (s): English A theatre director, designer and producer, Vikki is the founder of DVxT Theatre Company. Vikki’s work for DVxT includes the multi award-winning production of Ibsen’s The Doll House adapted by John Murrell, the acclaimed Soulpepper production of Happy Days starring Martha Burns and most recently, a site- specifi c production of The Turn of the Screw at the Campbell House Museum. DVxT has received 19 Dora Nominations and 12 Dora Awards for their work thus far. BFA-University of Calgary SHOW COMPANY PLAYWRIGHT YEAR Romeo & Juliet Canadian Stage Shakespeare 2010 Last Five Years Grand Theatre Jason Robert Brown 2010 The Turn of the Screw DVxT Jeff rey Hatcher/Henry James 2009 Happy Days Soulpepper Samuel Beckett 2003 The Doll House DVxT Theatre John Murrell/Ibsen 2001 2 Women Director’s Catalogue Saniya Ansari (Independent Artist) Toronto, Ontario 256 St. Clair Ave. East , Toronto, ON M4T 1P2 [email protected] | (416) 509-6554 Union Affi liations: Non-Equity Language (s): English/Urdu Saniya is an actor, producer, director and arts educator. Completing her B.Ed from the Ontario Institute of Studies in Education, she works with The Torontonians, Mammalian’s Parkdale-based art collective where adults and youth recognize each other’s strengths, abilities and energies, provide opportunities for interaction, information and participation with Toronto’s artists and cultural organizations. In 2000, she co-founded the theatre company Modest Productions to direct Damme, This Is The Oriental Scene for You! adapted by Rehan Ansari from G.V. Desani’s novel All About H. Hatterr, for Theatre Passe Muraille. Most recently, in August 2010, Saniya directed a workshop presentation of Unburdened by Rehan Ansari at CEPA gallery’s Art of War festival in Buff alo, NY. Upcoming: Unburdened has been invited for a reading at Asia Society in New York City in June 2011. BA – University of Toronto, Drama and English SHOW COMPANY PLAYWRIGHT YEAR Unburdened Modest Productions Rehan Ansari 2010 Love and Human Extinction Wide Out Loud Productions Shaista Justin 2009 Damme, This Is The Oriental Modest Productions Rehan Ansari 2000 Scene for You 3 Women Director’s Catalogue Luisa Appolloni (Independent Artist) Toronto, Ontario [email protected] | (647) 567-1066 Union Affi liations: Non-Equity Language (s): English Luisa Appolloni is a director, instructor, writer and dramaturge. She recently conceived and directed Things Base & Weill…Love Can Transpose! at the Toronto Fringe Festival. Luisa has also worked at the Stratford Shakespeare Festival, Shaw Festival, Tarragon Theatre, Blyth Festival, Stirling Festival Theatre, Driftwood Theatre, Huron Country Playhouse, Stephenville Festival, the National Film Board of Canada, Sheridan College’s Music Theatre – Performing Arts Preparation Program and the Canadian Opera Company. BA(Hon)- Carleton University BEd- Queen’s University Diploma- Sheridan College SHOW COMPANY PLAYWRIGHT YEAR Love You Forever… Stirling Festival Theatre Stephen Colella and Sue Miner 2010 And More Munsch The Last Resort Stirling Festival Theatre Book by Norm Foster 2010 Music & Lyrics by Leslie Arden Things Base & Weill… Theatre Counterpoise / Conceived by Luisa Appolloni 2009 Love Can Transpose! Toronto Fringe Festival Looking Magnus Theatre Norm Foster 2009 The Day Billy Lived Magnus Theatre Chris Craddock 2008 4 Women Director’s Catalogue Maja Ardal (Established Artist) Toronto, Ontario [email protected] | (416) 949-1474 Union Affi liations: Equity Language (s): English and Icelandic Specialist in ensemble work and epic physical theatre using Laban movement with musican actors. Stones in his Pockets by Marie Jones, at Alberta Theatre Projects and The Grand Theatre London. Age of Arousal at Factory Theatre produced by Nightwood Theatre. Threepenny Opera, Good Person of Setzuan, Midsummer Night’s Dream, Macbeth, Hamlet. Midnight Sun Iceland 2001 Artistic Director of Young People’s Theatre 1990-98; Whale (Dora Award) Two Weeks with the Queen; A Christmas Carol; Oliver Twist; Independent; Prisoner of Tehran 2011. Royal Scottish Academy of Music and Drama 5 Women Director’s Catalogue Caroline Azar (Independent Artist) Toronto, Ontario [email protected] Union Affi liations: Equity, ACTRA Language (s): English and French Caroline Azar hails from the celebrated worlds of punk rock, underground Super 8 Cinema and performance art. Having initially started as a performer and working fi lm historian, she conducts many workshops and story developmental initiatives serving the well known and the novice. BA- University of Toronto SHOW COMPANY PLAYWRIGHT YEAR The Getaway Dumigod Productions / Bruce Hunter 2010 Fringe Toronto You Mean Now? The Question Company The Questions Company Collective 2008 Collective/Fringe Toronto Manorexic Theatre a Go Go/Fringe Toronto Caroline Azar 2005 Premieres of “Perfect Pie, Tarragon Theatre & Canadian Judith Thompson (Asst Director 1999- Habitat, Capture Me” Stage Company to Ms. Thompson) 2004 This Might Help The Cameron House Michael McMurtry 1997 6 Women Director’s Catalogue Renée Baillargeon (Established Artist) Toronto, Ontario 68 Carmine Crescent, St. Catharines Ontario L2S 3M2 [email protected] | (905) 684-6800 Union Affi liations: Equity Language (s): English and French As a specialist in Physical Theatre for over 30 years, Renée conceptualizes and implements her directing style to emphasize the visual aspect of theatre incorporating line, movement and music.
Load more

Recommended publications
  • The Beginnings of Contemporary Aboriginal Literature in Canada 1967-1972: Part One1
    H ARTMUT L UTZ The Beginnings of Contemporary Aboriginal Literature in Canada 1967-1972: Part One1 _____________________ Zusammenfassung Die Feiern zum hundertjährigen Jubiläum des Staates Kanada im Jahre 1967 boten zwei indianischen Künstlern Gelegenheit, Auszüge ihrer Literatur dem nationalen Publi- kum vorzustellen. Erst 1961 bzw. 1962 waren Erste Nationen und Inuit zu wahlberechtig- ten Bürgern Kanadas geworden, doch innerhalb des anglokanadischen Kulturnationa- lismus blieben ihre Stimmen bis in die 1980er Jahre ungehört. 1967 markiert somit zwar einen Beginn, bedeutete jedoch noch keinen Durchbruch. In Werken kanonisierter anglokanadischer Autorinnen und Autoren jener Jahre sind indigene Figuren überwie- gend Projektionsflächen ohne Subjektcharakter. Der Erfolg indianischer Literatur in den USA (1969 Pulitzer-Preis an N. Scott Momaday) hatte keine Auswirkungen auf die litera- rische Szene in Kanada, doch änderte sich nach Bürgerrechts-, Hippie- und Anti- Vietnamkriegsbewegung allmählich auch hier das kulturelle Klima. Von nicht-indigenen Herausgebern edierte Sammlungen „indianischer Märchen und Fabeln“ bleiben in den 1960ern zumeist von unreflektierter kolonialistischer Hybris geprägt, wogegen erste Gemeinschaftsarbeiten von indigenen und nicht-indigenen Autoren Teile der oralen Traditionen indigener Völker Kanadas „unzensiert“ präsentierten. Damit bereiteten sie allmählich das kanadische Lesepublikum auf die Veröffentlichung indigener Texte in modernen literarischen Gattungen vor. Résumé À l’occasion des festivités entourant le centenaire du Canada, en 1967, deux artistes autochtones purent présenter des extraits de leur littérature au public national. En 1961, les membres des Premières Nations avaient obtenu le droit de vote en tant que citoyens canadiens (pour les Inuits, en 1962 seulement), mais au sein de la culture nationale anglo-canadienne, leur voix ne fut guère entendue jusqu’aux années 1980.
    [Show full text]
  • 45477 ACTRA 8/31/06 9:50 AM Page 1
    45477 ACTRA 8/31/06 9:50 AM Page 1 Summer 2006 The Alliance of Canadian Cinema, Television and Radio Artists ACTION! Production coast to coast 2006 SEE PAGE 7 45477 ACTRA 9/1/06 1:53 PM Page 2 by Richard We are cut from strong cloth Hardacre he message I hear consistently from fellow performers is that renegotiate our Independent Production Agreement (IPA). Tutmost on their minds are real opportunities for work, and We will be drawing on the vigour shown by the members of UBCP proper and respectful remuneration for their performances as skilled as we go into what might be our toughest round of negotiations yet. professionals. I concur with those goals. I share the ambitions and And we will be drawing on the total support of our entire member- values of many working performers. Those goals seem self-evident, ship. I firmly believe that Canadian performers coast-to-coast are cut even simple. But in reality they are challenging, especially leading from the same strong cloth. Our solidarity will give us the strength up to negotiations of the major contracts that we have with the we need, when, following the lead of our brothers and sisters in B.C. associations representing the producers of film and television. we stand up and say “No. Our skill and our work are no less valuable Over the past few months I have been encouraged and inspired than that of anyone else. We will be treated with the respect we by the determination of our members in British Columbia as they deserve.” confronted offensive demands from the big Hollywood companies I can tell you that our team of performers on the negotiating com- during negotiations to renew their Master Agreement.
    [Show full text]
  • RICHARD FEREN 146B Rhodes Avenue – Toronto, on – M4L 3A1 416-787-0657 [email protected]
    RICHARD FEREN 146B Rhodes Avenue – Toronto, ON – M4L 3A1 416-787-0657 [email protected] http://www.haemorrhage-music.com/richard-feren/ Represented by: Ian Arnold Catalyst Talent Creative Management Suite 310 - 100 Broadview Ave Toronto, Ontario Canada M4M 3H3 [email protected] http://www.catalysttcm.com SOUND DESIGN AND MUSIC COMPOSITION – THEATRE AND DANCE - selected credits PRODUCTION DIRECTOR THEATRE YEAR The Flick Mitchell Cushman Outside The March/Crow’s Theatre 2019 Much Ado About Nothing Liza Balkan Canadian Stage (Shakespeare In High Park) 2019 Measure For Measure Severn Thompson Canadian Stage (Shakespeare In High Park) 2019 Betrayal Andrea Donaldson Soulpepper Theatre Company 2019 Copenhagen Katrina Darychuk Soulpepper Theatre Company 2019 Beautiful Man Andrea Donaldson Factory Theatre 2019 Every Brilliant Thing Brendan Healy Canadian Stage 2018 The Wars Dennis Garnhum The Grand Theatre (London Ontario) 2018 The Nether Peter Pasyk Coal Mine/Studio 180 Theatre 2018 Dr. Silver Mitchell Cushman Outside The March/Musical Stage Co. 2018 An Ideal Husband Lezlie Wade Stratford Festival 2018 Animal Farm Ravi Jain Soulpepper Theatre Company 2018 Jerusalem Mitchel Cushman Outside The March/Company Theatre/Crow’s 2018 Silence Peter Hinton The Grand Theatre 2018 Daughter Ann-Marie Kerr Pandemic/QuipTake/Theatre Centre 2017 Confederation & Riel/Scandal & Rebellion Michael Hollingsworth VideoCabaret 2017 Little Pretty and The Exceptional Brendan Healy Factory Theatre 2017 CAGE none Soulpepper Theatre Company 2017 Unholy Kelly Thornton
    [Show full text]
  • Premiererne Eastmancolor(?)
    Muo, Ma San. Udi: Panorama. Prem: 15.3.76 World Cinema. Karatevold. DERSU UZALA Dersu Uzala. USSR/Japan 1975. P-selskab: Sovex- port/Mosfilm. Instr: Akira Kurosawa. Manus: Akira Kurosawa, Yuri Nagibin. Efter: rejseskildring af Vladimir Arsenjev (1872-1930), da. overs. 1946: »Jægeren fra den sibiriske urskov«. Foto: Asakadru Nakat, Yuri Gantman, Fjodor Dobrovravov. Farve: Premiererne Eastmancolor(?). Medv: Maxim Munzuk (Dersu Uzala), Yuri Nagibin (Arsenjev). Længde: 137 min. 3840 m. Censur: Rød. Udi: Posthusteatret. Prem: 1.1.-31.3.76/ved Claus Hesselberg 15.3.76 Alexandra. Tilkendt en Oscar som bedste udenlandske film. Anm. Kos. 130. DET FRÆKKE ER OGSÅ GODT Quirk. USA. Farve: Eastmancolor(?). Længde: 75 min. 2000 m. Censur: Hvid. Fb.u.16. Udi: Dansk- Anvendte forkortelser: Svensk. Prem: 23.2.76 Carlton. Porno. Adapt: = Adaption Komp: = Komponist DIAMANTKUPPET Ark: = Filmarkitekt Kost: = Kostumer Diamonds. USA/lsrael 1975. P-selskab: AmeriEuro Arr: = Musikarrangør Medv: = Medvirkende skuespillere Productions. P: Menahem Golan. Ex-P: Harry N. As-P: = Associate Producer P: Producere Blum. As-P: Yoram Globus. P-leder: Arik Dichner. Instr: Instr-ass: = P-leder: = Produktionsleder Menahem Golan. Zion Chen, Ass: Assistent Shmuel Firstenberg, Roger Richman. Manus: David Dekor: = Scenedekorationer Prem: = Dansk premiere Paulsen, Menahem Golan, Ken Globus. Efter: for­ Dir: = Dirigent P-selskab: = Produktionsselskab tælling af Menahem Golan. Foto: Adam Greenberg. Dist: = Udlejer i oprindelsesland P-sup: = Produktions-superviser Farve: Eastmancolor. Klip: Dov Hoenig. Ark: Kuli Ex-P: = Executive Producer P-tegn: = Produktionstegner (design) Sander. Dekor: Alfred Gershoni. Sp-E: Hanz Kram­ Foto: = Cheffotograf Rekvis: = Rekvisitør sky. Musik: Roy Budd. Sang: »Diamonds« af Roy Budd, Jack Fishman. Solister: The Three Degrees.
    [Show full text]
  • Ryga, Miss Donohue, and Me: Forty Years of the Ecstasy of Rita Joe in the University
    TRiC38#1x12.qxp_TRiC'16 2017-05-30 11:03 AM Page 11 ARTICLES Ryga, Miss Donohue, and Me: Forty Years of The Ecstasy of Rita Joe in the University MOIRA DAY This article is dedicated to the memory of Frank Bueckert (1922-2017), a valued friend, mentor, and teacher. While the seminal role that George Ryga’s 1967 classic, The Ecstasy of Rita Joe, played in igniting the modern Canadian theatre has often been acknowledged, the extent to which its success also constituted a concentrated attack on what Ryga termed the “complacent educator” in 1977, and helped revolution- ize the publication and teaching of Canadian plays at the post-secondary level, may have been less well acknowledged. This article, which documents Moira Day’s own forty-year odyssey with the play in the (largely) prairie university classroom as both a student and an instructor, investigates the play’s initial impact on scholarship, publication, curriculum at the post-secondary level, and some of its ramifications on school and university production and actor training over the 1970 and 1980s. It also deals with the challenges of continuing to teach and interpret the play from the 1990s onward, as new practices and theories have continued to alter its meaning, and considers why this odd, iconoclastic text, despite its flaws, continues to fascinate us fifty years after its initial production. On a souvent souligné le rôle essentiel qu’a joué The Ecstasy of Rita Joe, une pièce qu’a écrite George Ryga en 1967, dans la mouvance du théâtre canadien. Or, on a peut-être moins insisté sur la mesure dans laquelle son succès aura constitué une attaque concentrée sur ce que Ryga appelait en 1977 l’« éducateur complaisant », ni même sur le fait que la pièce aura servi à révolutionner la publication et l’enseignement de la dramaturgie canadienne au niveau post-secondaire.
    [Show full text]
  • Man of La Mancha August 16–September 9, 2018
    THE S. MARK TAPER FOUNDATION PRESENTS A NOISE WITHIN’S REPERTORY THEATRE SEASON STUDY GUIDE MAN OF LA MANCHA AUGUST 16–SEPTEMBER 9, 2018 Pictured: Geoff Elliott, Kasey Mahaffy. Photo by Craig Schwartz. STUDY GUIDES FROM A NOISE WITHIN A rich resource for teachers of English, reading, arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Pictured: Donnla Hughes, Romeo and Juliet, 2016. PHOTO BY CRAIG SCHWARTZ. Alicia Green DIRECTOR OF EDUCATION We are grateful for the additional sponsorship of all student matinees for Man of La Mancha by Anni Frandsen Low, Ph.D. TABLE OF CONTENTS Special thanks to our Dinner On Stage donors who kept the arts thriving this year by supporting our Student Matinees (SMATs): SMAT PERFORMANCE SPONSOR ($5,000 AND ABOVE) Dr.
    [Show full text]
  • Rhubarb Festival
    2020 22, – Festival sponsor FEBRUARY 12 FEBRUARY Buddies in Bad Times Theatre presents THE RHUBARB FESTIVAL Rhubarb2020-Brochure-V5.indd 1 2020-01-20 12:15 PM About Rhubarb Canada’s longest-running new works festival transforms Buddies into a hotbed of experimentation, with artists exploring new possibilities in theatre, dance, music, and performance art. Back this year for its 41st edition, Rhubarb is the place to see the most adventurous ideas in performance and to catch your favourite artists venturing into uncharted territory. Buddies in Bad Times Theatre is situated on the traditional lands of the Haudenosaunee, the Anishinaabe, and the Wendat, and the treaty territory of the Mississaugas of the Credit. We acknowledge them and any other Nations who care for the land (acknowledged and unacknowledged, recorded and unrecorded) as the past, present and future caretakers of this land, referred to as Tkaronto (“Where The Trees Meet The Water”; “The Gathering Place”). Buddies is honoured to be a home for queer, trans and 2-Spirit artists on these storied and sacred lands that have been stewarded by Indigenous peoples for thousands of years before the arrival of colonial settlers. Rhubarb2020-Brochure-V5.indd 2 2020-01-20 12:15 PM A Message from the Curatorial Collective An entire continent is on fire, Facebook’s immovable ad policy now determines truth in politics, and this country’s ongoing project of genocide continues. The inexorable truth of democracy? Progress comes slowly. But, this is Rhubarb. And for the 41st festival, we begin with an offering. Of and for the future.
    [Show full text]
  • Saving the World How Dal Researchers Are Tackling the Halifax
    NIGHTLY RATES STARTING AT ONLY $36 Low room rates at WINTER 2019 Dalhousie University this summer means more savings for the things you love in Saving the world How Dal researchers are tackling the Halifax. planet’s biggest problems dal.ca/stay Dr. Stefanie Colombo and her team CANADA POST PUBLI CANADA POST are developing innovative approaches to aquaculture nutrition C ATIONS: MAIL ATIONS: Stay at Dal Mag Back page ad-3.indd 1 2019-01-07 1:15 PM P M41901013 | LOOKING AHEAD | UNDER THE SEA | SEEKING JUSTICE | Visit our website at dal.ca/dalmag CONTENTS WINTER 2019 features KNOWLEDGE SURGE Dal’s latest innovation sandbox focuses on science- based research and innovation. By Niecole Comeau page 10 12 DEEP DIVE Dalhousie and the National Film Board team up on Ocean School, an innovative online educational destination that takes kids out to sea—virtually. By Michele Charlton page 12 gloBAL IMPACT Dalhousie researchers are tackling some of the planet’s most complex and urgent challenges. By Ryan McNutt page 16 NEXT Though the events and activities of Dalhousie’s 200th anniversary are now packed away in our memories, we can enjoy knowing that there’s still quite a bit to look forward to. By Stefanie Wilson page 24 16 regulars on the cover 3 Dal News 16 Saving the world 29 Dal Alumni 24 Looking ahead 30 Philanthropy 12 Under the sea 7 Seeking justice 32 Donor Profile 34, 35, 36, 37, 44 Spotlight 38 Events 40 Class Notes 41 In Memoriam 24 COVER BY AARON MCKENZIE FRASER Contact us at [email protected] masthead contributors editorial ASSIST NT VICE-PRESIDENT, DAWN MORRISON has held several COMMUNICATIONS AND MARKETING communications roles in higher Catherine Bagnell Styles education, including at Dalhousie A BRIGHTER EDITORIAL COMMITTEE University.
    [Show full text]
  • Buddies in Bad Times Announces Programming for 2016/17 Season
    FOR IMMEDIATE RELEASE, APRIL 19, 2016 Media Contact: Mark Aikman [email protected] 416.975.9130 x40 BUDDIES IN BAD TIMES ANNOUNCES PROGRAMMING FOR 2016/17 SEASON BUDDIESINBADTIMES.COM/SEASON – TICKETS ON SALE NOW TORONTO: April 19, 2016. Artistic Director Evalyn Parry announced an exciting line up for Buddies in Bad Times Theatre’s 2016/17 Season today. Parry’s first programmed season presents a series of engaging, timely productions that invite new conversations and perspectives onto Buddies stage. The season includes a queer spin on a hit improv comedy, the world premiere of a multidisciplinary project developed in the Buddies Residency Program, and a community-driven theatre project directed by Parry. The company also welcomes back a number of guest companies throughout the season. In announcing the season, Parry remarks: “I am thrilled to present a season that’s full of risky new creation, in conversation with classics of the modern stage. For me, queer theatre is about challenging form as well as content: finding new ways for our theatre to engage with and reflect our community. I look forward to inviting the community onto our stage – both literally and figuratively – this season.” Following sold out runs across North America, Rebecca Northan brings her hit show Blind Date to Buddies to kick off the mainstage season in September. Blind Date pairs a sexy clown with a willing audience member for a 90-minute, improvised show, starting with the titular blind date, then skillfully maneuvering through the evening in a “perfect marriage of theatre and comedy”. This re-imagined version of the play, being developed specifically for Buddies by Northan in collaboration with Evalyn Parry, explores queer romance for the first time.
    [Show full text]
  • All the Little Animals I Have Eaten Written & Directed by Karen Hines
    a nightwood theatre production in association with crow's Theatre All the Little animals I have eaten Written & Directed by Karen Hines livestream reading april 3, 2020 all the little animals i have eaten Written & Directed by karen hines starring Amanda Cordner, Belinda Corpuz, Lucy Hill, Amy Rutherford & Zorana Sadiq creative team Written and Directed by Karen Hines Set and Costume Design by Gillian Gallow Lighting Design by Bonnie Beecher Music & Sound Design by Richard Feren* Choreography by Tracey Power Production Dramaturgy by Guillermo Verdecchia Stage Management by Ken James Stewart Assistant Direction by Teiya Kasahara** Associate Sound Designer Maddie Bautista Head of Wardrobe Joyce Padua Co-Production Managers Pip Bradford & Ellen Brooker Accessibility Consultant Jess Watkin Song: Melody & Lyrics by Karen Hines; Arrangement by Richard Feren, Additional Harmonies by the Cast. *Roughly adapted for streamed experience **Made possible by the Canada Council for the arts For Company Bios and Headshots, visit nightwoodtheatre.net Cover photo of Amanda Cordner by Dahlia Katz a message from the artistic director When we had to make the heartbreaking decision to pull the plug on Karen Hines’ All the Little Animals I Have Eaten, we were about to go into tech. It was the reality of imagining the tech week process underscored by fear and uncertainty, imagining set pieces and lighting instruments abandoned in the theatre, and imagining folks travelling to work that made us make the call. My phone call to Karen was my first tear-filled conversation as an AD to an artist. I couldn’t imagine her heartbreak. Deep down she knew - we all (maybe) knew - that we were holding onto impossible hope and had to let go.
    [Show full text]
  • Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Laura Nuffer University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Studies Commons, and the Medieval Studies Commons Recommended Citation Nuffer, Laura, "Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan" (2014). Publicly Accessible Penn Dissertations. 1389. https://repository.upenn.edu/edissertations/1389 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1389 For more information, please contact [email protected]. Of Mice and Maidens: Ideologies of Interspecies Romance in Late Medieval and Early Modern Japan Abstract Interspecies marriage (irui kon'in) has long been a central theme in Japanese literature and folklore. Frequently dismissed as fairytales, stories of interspecies marriage illuminate contemporaneous conceptions of the animal-human boundary and the anxieties surrounding it. This dissertation contributes to the emerging field of animal studies yb examining otogizoshi (Muromachi/early Edo illustrated narrative fiction) concerning elationshipsr between human women and male mice. The earliest of these is Nezumi no soshi ("The Tale of the Mouse"), a fifteenth century ko-e ("small scroll") attributed to court painter Tosa Mitsunobu. Nezumi no soshi was followed roughly a century later by a group of tales collectively named after their protagonist, the mouse Gon no Kami. Unlike Nezumi no soshi, which focuses on the grief of the woman who has unwittingly married a mouse, the Gon no Kami tales contain pronounced comic elements and devote attention to the mouse-groom's perspective.
    [Show full text]
  • A Refugee Love Story, in Collaboration with Indie / Folk Music Sensation Ben Caplan
    PRESS RELEASE – Thursday 20 June 2019 IMAGES CAN BE DOWNLOADED HERE FOOTAGE CAN BE DOWNLOADED HERE OldStockWiltons.com T: @OldStockLove | I: @oldstocklove | F: /OldStockLove 2b theatre company presents OLD STOCK: A REFUGEE LOVE STORY ● CASTING ANNOUNCED FOR INTERNATIONALLY ACCLAIMED 2b theatre company’s OLD STOCK: A REFUGEE LOVE STORY, IN COLLABORATION WITH INDIE / FOLK MUSIC SENSATION BEN CAPLAN ● ON WORLD REFUGEE DAY, AWARD-WINNING WRITER HANNAH MOSCOVITCH REFLECTS ON HER OWN FAMILY’S PERILOUS HISTORY AS REFUGEES ● CRITICALLY ACCLAIMED THROUGHOUT CANADA, IN NEW YORK, EDINBURGH, ACROSS THE UK, IN AUSTRALIA AND HOLLAND FOR ITS INNOVATIVE, GENRE-BENDING STYLE, OLD STOCK MAKES ITS LONDON DEBUT AT WILTON’S MUSIC HALL FROM SEPTEMBER 18TH – 28TH Full casting is announced today for OLD STOCK: A REFUGEE LOVE STORY, a dizzying 80 minute, genre bending, darkly funny gig-meets-live theatre experience based on a true story of two Jewish Romanian refugees fleeing Romania for Canada in 1908. Covering sex, religion, tragedy and triumph, the show follows Chaim and Chaya as they make a fresh start in the New World. Joining previously announced Ben Caplan and Mary Fay Coady are Eric Da Costa, Jeff Kingsbury and Kelsey McNulty. This ingenious Klezmer / folk music theatrical hybrid received rave reviews at its premiere in Halifax, Canada and has since been performed to great critical acclaim throughout Canada, in New York (where it garnered six Drama Desk Award Nominations) and Edinburgh, across the UK, in Australia and Holland. 2b theatre company bring Old Stock: A Refugee Love Story to Wilton’s Music Hall from September 18th – 28th, for its London premiere.
    [Show full text]