The McMaster Thespian Company's production showcases the timeless appeal of classical theatre
By: Shelby Foster, Arts and Culture Contributor
"To be, or not to be, that is the question." But why our campus and why now? That's my question.
With the McMaster Thespian Company having wrapped up their fall production of Macbeth and beginning production for yet another of Shakespeare's plays, one has to ask themselves, why does Shakespeare have the McMaster theatre community in such a chokehold?
To get to the bottom of this question, I sat down with some of the cast and crew of MTC's Macbeth to talk about the production and understand what it means to be engaging with Shakespearian classics as modern-day students.
According to the UK National Theatre in their 2024 Macbeth deep dive, the timelessness of Shakespeare has been accredited to his appeal to themes such as love, death, ambition, power, fate and free will —experiences that transcend time.
As Annika Venkatesh, director of MTC's Macbeth, put it, "The themes are relevant because the themes are human." In addition to Shakespeare's heart-string-plucking work, his works are in the public domain, which has led to further opportunities for creatives to engage with them beyond reading the original works themselves, including but not limited to putting on university productions.
"Shakespeare is so infused in our culture already and in ways we don't even understand; we enjoy She's The Man, Lion King, 10 Things I Hate About You. Understanding the source material and letting ourselves enjoy and empathize with it are definitely things that we can strive to do through our theatre," said Venkatesh.
Understanding the source material and letting ourselves enjoy and empathize with it are definitely things that we can strive to do through our theatre.
Annika Venkatesh, Director of Macbeth
McMaster Thespian Company
As highlighted by Venkatesh, Shakespeare's impact on Western culture is undeniable, but his plays take center stage on a much more personal level for those directly involved with theatre.
"I remember being 15, reading Macbeth and I thought, "This was my dream character"," said Maya Psaris, a first-year PhD student who played Lady Macbeth in MTC's production. Through MTC, Psaris was enabled to pursue all of her passions by having classical theatre accessible on campus.
"I have a split brain in terms of my passions. I love research, psychology and child development . . . my other passions are acting and theatre," Psaris explained. "Being able to balance both of those two is really important to me."
When asked how their involvement with the MTC interacts with their studies, here is what one of Psaris' castmates had to say.
"It's definitely helpful," said Abbey Hanson, Lennox actress and third-year English and theatre student. "I feel like I have a better understanding of reading Shakespeare and understanding what's going on . . . also any performing experience helps with being in theatre, building up the resume, learning new things, learning different directing techniques that you will experience."
Hanson suggested that involving yourself with MTC as an English or theatre student may help in furthering your career development in direct ways. Venkatesh, alongside directing Macbeth, is a third-year nursing student and argued that the importance of engaging with theatre spans beyond your field of study.
"There's a lot more overlap between theatre and any other field of study than people expect there to be," said Venkatesh. "I go to clinical placements or to work; I go to the hospital . . . so I can talk with them [patients, colleagues] about books, plays, music and theatre. Especially with Shakespeare, everyone has some kind of story. Whether it's just them hating it in high school or talking about going to Stratford every year."
There's a lot more overlap between theatre and any other field of study than people expect there to be.
Annika Venkatesh, Director of Macbeth
McMaster Thespian Company
These unique individuals, all from different backgrounds, are united by one thing in common: the humanity that theatre highlights.
If you want to experience Shakespeare for yourself, MTC is currently preparing for their winter show, Twelfth Night. You can get in on the action by following MTC on Instagram to watch the production process and get the inside scoop. Keep an eye out for performance date announcements, read the play for yourself and, of course, consider seeing the show!
C/O Dayne Topkin, Unsplash
Fables For a New World asks artists to imagine what comes next
Over the last three years, COVID-19 has reshaped the world as we know it — our usual pastimes turned into DIY hobbies, outdoor days turned into lockdowns and in-person classes turned into Zoom meetings. But what comes next? What will happen in the post-pandemic world? What would be the first story to tell? Industry, a Hamilton-based theatre and media company, tells the stories about what comes next in their new project, Fables For a New World.
Co-produced by Rose Hopkins and Matthew MacFadzean, members of Industry, the project is the sequel to the Corona Diaries in which seven artists from around the globe shared how they were coping with the pandemic and changes to their arts practice. Each artist uploaded a series of video entries over the course of eight weeks. The project wrapped up with a live event in August 2020.
The artists included: Deepti Gupta (Canada), Andile Nebulane (South Africa), Tamlyn Magee (Australia), Celine Mun (South Korea), Haruna Kondo (Japan), Harry Long (England) and Michael Rubenfeld (Poland). None of them knew each other nor had interacted with each other during the Corona Diaries project until its wrap-up event.
“We uploaded separate videos to a series of questions without any communication with each other and then when we saw the collected versions, the collective response was very interesting — in how different artists in different countries had synchronicities and connections with what they were experiencing,” said Gupta, a choreographer and performer as well as the owner of Arzoo Dance Theatre and a member of Industry.
“We uploaded separate videos to a series of questions without any communication with each other and then when we saw the collected versions, the collective response was very interesting — in how different artists in different countries had synchronicities and connections with what they were experiencing.”
Deepti Gupta, choreographer, performer, owner of Arzoo Dance Theatre and a member of Industry
The same seven artists are now all part in the Fables For a New World.
The premise for the Fables For a New World is the world as we know it has ended and the seven artists are tasked with creating fables emerging out of a narrative for the new world. The first assignment the artists did together was looking up at the sky — the only scenery commonly available to all seven artists from seven different countries — and finding a new constellation to create their own individual fables.
Hopkins and MacFadzean then reviewed the fables and artists whose had similar themes were grouped together to continue developing those stories in a collaborative effort.
For instance, Gupta collaborated with Mun, an actress and assistant production manager in Atobiz theatre company, and Kondo, a trained actress, director and owner of AHURI Theatre.
The project was unlike what Gupta had ever done before. Not only was she new to integrating technology into her practice, Gupta found working in the digital space challenging, especially away from a live audience.
“Dance is very live and theatre is also very live. These are very live art forms — you are in with your body in a space — that’s how it works but there was nothing,” said Gupta.
However, despite the challenges, the support and bond the artists developed watching and reacting to their common thoughts, experiences and feelings shared in the Corona Diaries made it a valuable and meaningful undertaking.
“Being selected to be part of this project helped me to be connected with members of Industry and a group of artists across the globe made me feel like I’m still a part of something. Each of the people [Industry] selected are incredible talented and really experienced artists, so no matter what my own age or level of experience, it was an honour,” explained Gupta.
At the moment, Fables For a New World is still in early development. Hopkins and MacFadzean are applying for additional funding from the Canada Council for the Arts to continue the project and hopefully plan for a public presentation of the final pieces.
Both the Corona Diaries and Fables For a New World are indicative of how Industry is reimagining what the theatre space could be and of the fascinating and growing art scene in Hamilton.
“Industry is really interested in international work and bringing Hamilton into the international theatre and performance community. This has been the first project where we really started to be able to do some of that and I’m very excited about the idea, what this project could mean for future collaborations or expanding our networks of international companies,” said Hopkins.
Gupta echoed the Hopkin’s sentiments about the impact of the two projects.
“Hamilton has this buzz of technology and creating new art in new ways and I think it leads to these kinds of experiments . . . The newness of this project, how innovative it is, how it took risks and the beauty of that has emerged, I think is very magical for the pandemic where so much was lost in creation and so much was lost in artistic practice,” said Gupta.
"The newness of this project, how innovative it is, how it took risks and the beauty of that has emerged, I think is very magical for the pandemic where so much was lost in creation and so much was lost in artistic practice."
Deepti Gupta, choreographer, performer, owner of Arzoo Dance Theatre and a member of Industry
Fables For a New World brings beauty and magic in a period of time which has otherwise felt sad and discouraging. Hopefully soon, the audience can join Industry and the artists and follow them along their tales for the new world and learn more about their gentle collaboration which has nevertheless been very inspiring for everyone involved.
The Staircase Theatre’s improvisation community provides a perfect place for creative people to connect during the pandemic
By: Kate Whitesell-O'Melia, Contributor
Photo C/O Kakerr from TripAdvisor
The Staircase theatre has been an incubator for the Hamilton arts scene since it was founded in 1998. The theatre was originally a hydro building but was converted into a 67-seat theatre where Hamilton’s improvisation community has gathered for over 20 years.
Along with housing performances of improv groups such as The Understudies, Staircase theatre has fostered the Improv Staircase community, a group of individuals that are brought together by their passion for improv.
Kristi Boulton is a voice actor, podcaster and comedian who joined the Staircase Improv community in 2013 when she graduated from McMaster University. Boulton recounted her time at the Staircase theatre and her first time performing with her group The Understudies.
“There’s just nothing like it. The laugh that you get it’s so genuine and in the moment and real that it just lights your soul on fire . . . [the Staircase] is such a safe space to play and be a total goofball. It’s scary for sure, but it’s also magical,” said Boulton.
“There’s just nothing like it. The laugh that you get it’s so genuine and in the moment and real that it just lights your soul on fire . . . [the Staircase] is such a safe space to play and be a total goofball. It’s scary for sure, but it’s also magical.”
Kristi Boulton
Boulton went on to become a voice actor and podcaster with the show Civilized. Boulton said that if it wasn’t for the Staircase, she would not have had the courage to connect with other comedians.
Last year, performances and gatherings at the Staircase theatre were put on pause due to COVID-19 lockdowns. Since Staircase Improv has been teaching online improv bubbles on Monday and Wednesday nights.
Staircase Improv teacher, Bill Dunphy, joined the community in 2011 and has been teaching Zoom improv bubbles during the pandemic.
“It is very much the difference between having your seven-year-olds being able to spend two hours in the playground doing whatever they wanted to, whether it's ball or running or talking or whatever, and then having a Zoom chat. Okay yeah, they're still together, they still see each other, interact, but it's a very different thing and that's resulted in a real impact on our community members,” said Dunphy.
“Okay yeah, they're still together, they still see each other, interact, but it's a very different thing and that's resulted in a real impact on our community members.”
Bill Dunphy, Staircase Improv Teacher
Many university students can relate — classes aren’t the same online as they were in person because it lacks the component of being with your peers while learning and growing together. Dunphy hopes to see a fair number of members returning once it is possible to do safely.
During the pandemic, the Staircase theatre almost closed permanently. In August 2020, the former owners announced that there were selling the venue.
“It was such a blow to the community when we realized that the theatre space was potentially going to close because it is that home for so many people,” said Boulton.
Luckily, the theatre was bought by new owners who are continuing the Staircase’s former message. Performances will continue once it is safe to do so and in the meantime, the theatre is open virtually for anyone to try improv.
“I recommend it to everyone, anyone who wants to get creative . . . The simplest thing is just come out to one of the Monday or Wednesday drop-ins. No experience is needed. We welcome everyone,” said Dunphy.
On a personal note, I had the pleasure of attending a Wednesday night improv class myself. I had no previous experience and was nervous to put myself in a situation where others could see me react with no time to stop and think.
I felt that fear melt away as the night went on solely because the group was so welcoming and accepting of my lack of improv skills. Dunphy and Boulton recommend anyone interested in expressing creativity try improv and, after participating in Staircase Improv, I wholeheartedly agree.
Renaissance London is frequently hailed as a landmark of performance and culture. You may, perhaps, have heard of writers like William Shakespeare and Christopher Marlowe; however, during the years of 1603 and 1613, the theatres of London were closed for 78 months due to the plague. With people trapped in their homes and terrified of becoming sick, it was difficult to share performances. Today we are facing a similar situation, but fortunately there is now a place for us to come together and experience all the theatre the world has to offer us: The Social Distancing Festival.
The Social Distancing Festival was created by Toronto playwright Nick Green. When Green and his co-writer Kevin Wong found out that their musical In Real Life was cancelled, Green reached out to fellow artists and realized that performances everywhere were being halted midway through their rehearsals. The Social Distancing Festival was born out of a desire to save those shows and give them their spotlight.
Theatre from all over the world, in numerous forms, is available to stream and enjoy from the festival website, and the response has been hugely positive, with review articles being written by dozens of news outlets. As much as we all joke about bingeing Netflix and Disney+, there is clearly a desire in all of us to be able to experience live art and theatre.
The Social Distancing Festival is a place where artists can submit their work for viewers to see and enjoy. Clicking on the "Featured" and "Live Streams" tabs will take you to pages that feature everything from spoken word to opera. The Featured page has a more curated selection, whereas the Live Streams page has a calendar option so that you can see what streams are available to you on a given day. Some streams require registration, so if there is something that catches your eye, make sure to double check that there is room available.
The festival only started on Friday March 13, but it has been growing and evolving daily, and as a result Green has needed more people to help him organize it. Matthew Reid, a fourth year student at Sheridan College in the honours bachelor of music and performance program, is one of those helpers. He met Green at a theatre workshop last summer. Like students here at McMaster, Reid found that his final semester of undergrad was suddenly and abruptly cut off. At the fifth rehearsal for their upcoming performance of Guys and Dolls, Reid and the rest of the class were told that the show was cancelled.
“[W]e all went into rehearsal on Friday and were told that our rehearsal process would be stopped and our productions were going to be cancelled. So that was a bit of a shock to the system, especially as fourth year students, because this is our last, final project before leaving school. We realized that all we had left to do was a couple of online meetings and then we were done with our degree, we were done with this whole undergrad experience, and it all happened in the blink of an eye,” said Reid.
World Theatre Day took place March 27, with theatres across the globe sitting empty. The artist community has been hit hard by COVID-19 closures. Many performers rely on theatre in order to pay their bills or, like Reid, in order to finish their degrees. Not only that, performers live and breathe theatre. It’s how they express their talent and creativity, and for many it is their driving passion. In the wake of the closures, Green saw both himself and his friends suddenly left rudderless, with the energy that they invested in their projects seemingly going to waste.
“[Green] wanted to create a platform where artists could share work . . . that had been cancelled or postponed or stopped, as a way for them to continue to create what they were creating, as a way for them to get feedback and to celebrate their work, to connect with other artists internationally. It seems people are very grateful for their work not to be lost. It's always good to have a project, especially in a weird, very unpredictable time like this, [to have] a project to focus on,” said Reid.
Theatre has always had to adapt to funding cuts and shoestring budgets, and artists are nothing if not adaptable. Green’s show In Real Life has been continuing to rehearse remotely despite the barriers put in its way. The show is set in a dystopian future where the students live in cubes and can only communicate with one another online. This hits disconcertingly close to home as we all practice physical distancing, only able to see one another through our screens.
“They are, very fortunately, still managing to meet as a cast and as a team online . . . So it's kind of like they're actually living [the show] right now. They're all doing a 30 person Zoom call and rehearsing their songs and working on scenes, and it all has to be online from the comfort of their own room[s] because that's where we we have to be right now, so it's kind of like they're method acting, experiencing the world of the cube while they're rehearsing for the show,” said Reid.
None of us know how long we’ll need to keep our distance, or when live theatre will be able to start up again. Until then, The Social Distancing Festival is hoping to continually evolve and improve to help both the artists sharing their work, and the people watching from home. As it continues, the festival is working to include not only theatre, but also music, dance, traditional art and spoken word. If you’re an artist, you can submit through their website, and if you’re not, hopefully you can find some joy in the work being shared. And when this is all over, we should all remember that the arts can play a large role in helping to get through difficult times.
[thesil_related_posts_sc]Related Posts[/thesil_related_posts_sc]
