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SILENCE By Moira Buffini Cast Agnes................................................................................................................... Ruth Alexander* Ethelred.............................................................................................................Michael Anderson Silence.............................................................................................................. Shannon Blanchet* Eadric........................................................................................................................... Griffin Cork Ymma....................................................................................................................... Emily Howard Roger..................................................................................................................... Joshua Meredith Creative Team Director........................................................................................................ Kim Mattice Wanat* Set Designer............................................................................................................ Bailey Ferchoff Costume Designer.............................................................................................Beyata Hackborn Lighting Designer................................................................................................ Lee Livingstone Sound Designer.....................................................................................................Logan Chorney Accent Coach....................................................................................................... Joshua Meredith Stage Management Stage Manager.................................................................................................Kaylie Rennebohm Assistant Stage Managers............................................................... Hayley Craft, Jennie Emms Faculty Advisors Directing Advisor................................................................................................ Sandra Nicholls Fight/Stunt Direction Consultant........................................................................... J-P Fournier Design Advisor..................................................................................................... Lee Livingstone Stage Management Advisor...................................................................................Betty Hushlak *The participation of this Artist is arranged by permission of Canadian Actors’ Equity Association under the provision of the Dance-Opera-Theatre Policy.
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Production Team Production Manager..................................................................................... Gerry van Hezewyk Technical Director....................................................................................................... Larry Clark Wardrobe Manager............................................................................................. Joanna Johnston Cutter...............................................................................................................................Julie Davie Wardrobe Assistant........................................................................................ Courtney Bettanin Master Carpenter.................................................................................................Darrell Cooksey Scenic Carpenter.............................................................................................. Barbara Hagensen Scenic Artist...................................................................................................... Tiffany Martineau Properties Master............................................................................................................Jane Kline Props Assistant................................................................................................. Tiffany Martineau Lighting Supervisor.................................................................................................... Matt Koyata Lighting Technicians...............................................................Micaila Herbold, Tegan Herron, Megan Wearne, Millie Winzinowich Sound Supervisor................................................................................................ Matthew Skopyk Running Crew Lighting Operator......................................................................................... Millie Winzinowich Sound Operator.........................................................................................................Kenzie Bowes Stage Crew.......................................................................Courtney Bettanin, Kathryn Gawalko Acknowledgements: Lloyd Bell , Citadel Theatre, Edmonton Opera, Karen Kucher, Patsy Thomas and St. Bonaventure School.
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Contents 5 Studio Theatre Mandate • 6 Director's Notes 7 Dramaturgical Notes • 9 About the Playwright • 11 Studio Theatre 2019-2020 Season 12 Looking Back: Photos from the 2018-19 Season 14 Admin, Production, Front of House & Volunteers • 15 Donors
U of A Studio Theatre Mandate •
To provide sterling training and educational opportunities for BFA acting, design, technical theatre and stage management students, as well as MA, MFA and PhD students
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To provide opportunities for connections with departments across campus through the choice of plays which have cultural, literary and historical significance
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To provide research / creative activity opportunities for the Department of Drama’s faculty directors and designers
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To provide opportunities for the community at large to engage with the Department of Drama through guest artist collaboration and attendance as audience members
Melanie Dreyer-Lude, Artistic Director, U of A Studio Theatre and Chair, Department of Drama
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DIRECTOR’S NOTES By Kim Mattice Wanat
and unenlightened leadership. It further probes our struggle with establishing respect and equal pay for women and our continued need to understand a world of non-binary gender identity. King Ethelred’s narcissistic actions, addiction to his increasing power and the devotion of followers in Silence is a pattern of behaviour witnessed in countless, corrupt autocratic leaders of today. These leaders manipulate large groups of the populace, inciting fear of outsiders who they insist will inevitably create harm.
It is an amazing opportunity to share this epic play that is rooted in history, and yet provokes our understanding of current issues. Moira Buffini wrote Silence in 1999, at a time when there was rampant fear that the turning of the calendar year to 2000 would create havoc on computer programs based on two-digit year indicators, and that the financial markets would experience a meltdown. The fear incited was widespread with exaggerated media reports. Twenty years after the play was first conceived, it seems more relevant and challenges our contemporary sensibilities. The play awakens our perception of how prevalent apocalyptic fears may be in the wake of global warming, tribalism in the free world 6
The awareness of such present day destructive forces ignites a consideration of how or why evil can reign powerful in a world that is supposedly enlightened. The play posits hope with Agnes’ last line, “They are the inevitable fears of our times, living as we do… On the edge of destruction.” This statement provokes us to consider that although we clearly are living in uncertain, corrupt times, this is not the first time nor is it likely to be the last time. If there is any truth to be embraced, it is that we will find a way to manoeuvre around the obstacles that exist on our path and we will establish a new reality with a profoundly enthusiastic spirit.
SINCERE THANKS It is with considered gratitude that I thank every one of the inspired teachers in the U of A Drama Department who have deepened my understanding of the theatrical practice and further ignited my desire to create live theatre and opera in this city. I have thoroughly enjoyed
DRAMATURGICAL NOTES By Jason Chinn continued from director's notes returning to school and reaping the benefits of expanding my intellectual fortitude and imaginative spirit. Working alongside a team of young, enthusiastic and wildly creative designers has been invigorating. The support system of the administrators, stage managers and production team has made realizing the creative vision seamless. My deepest respect extends to my directing mentors who have offered such exceptional guidance: David Kennedy, Jan Selman, Beau Coleman, Kathleen Weiss, Jonathan Christenson and especially Sandra Nicholls, my advisor on this thesis. Finally, thank you to my husband and family who constantly provide the backbone of support that allows me freedom to nurture my creative soul. Kim Mattice Wanat
Ymma and Silence in History Moira Buffini’s play imagines the meeting of two historical figures that challenged the gender norms of their times: Emma of Normandy, a Norman royal who lived from 985 to 1052, and Silence, the titular character of the 13th century verse-romance, Le roman de Silence.
1002 to unite Normandy and England against the threat of viking invasions. The marriage ended fourteen years later when Æthelred died during Danish warrior Cnut the Great’s invasion of England. Emma was subsequently married to King Cnut in 1017 after he seized the English crown. Although it can be assumed the marriage was forced upon Emma by the conquering nation, English historian Matthew Firth suggests that Emma used the opportunity to her full advantage, as evidenced by the following accomplishments: Emma became the richest woman in England; took an interest in ecclesiastical a p p o i n t m e n t s (perhaps for a price); increased her land holdings; was given equal prominence to the king’s contemporary portraiture (a unique development); became queen consort of Denmark and Norway; and we even have some slight indications she may have performed as regent during Cnut’s overseas absences (Firth).
Emma paved the way for women to rule in their own right, and her political savvy has cemented her as one of the most powerful women in English history. The Ymma of Silence, much like Emma of Normandy, desires a level of agency not Buffini’s Ymma takes inspiration from permitted to women of the 11th century, Emma of Normandy, queen consort of yet she aims to take it nonetheless. England, Denmark and Norway at the Ymma is inspired to take control of her start of the 11th century. Emma was own destiny in part by Silence’s donning married to King Æthelred of England in of the male identity and the power 7
DRAMATURGICAL NOTES continued that ultimately provides. The character of Silence originates in the medieval text Le roman de Silence by Heldris de Cornuälle. Le roman de Silence tells the story of a girl whose parents raise her as a boy after a mythical king forbids women from inheriting family wealth. In true medieval fashion, personifications of Nature and Nurture argue over who has the greatest influence over the child. At first, Silence considers womanhood a demotion and resists Nature. In the end, however, she succumbs to Nature and is transformed from a warrior into a beautiful maiden. Buffini’s use of these two historical figures, Emma of Normandy and de Cornuälle’s Silence, demonstrates her deft ability at using history to illuminate the present. Emma of Normandy’s story of a woman asserting her power within a political system dominated by men is as thematically relevant now as it was in the 11th century. Barriers that continue to hinder women in politics today are plentiful and depressing. With respect to representation, women only account for 26% of the 42nd Canadian Parliament, placing Canada 50th in the world for gender parity in government.1 The character of Silence provides further opportunities to examine the political
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implications of gender through the lens of gender ambiguity. In Le roman de Silence, the character’s dual genders are explicitly tied to their respective societal functions; the male as the inheritor of the family dynasty and wealth, and the female as the bearer of children. As Peggy McCracken, Humanities professor at the University of Michigan, suggests, Silence’s gender ambiguity “presents a profoundly troubling spectacle to an aristocratic society founded and maintained by dynastic marriage and succession because ambiguous gender threatens the disruption of dynastic structures” (McCracken). Furthermore, “the efforts by various characters in the story to contain the mutability of Silence's body reveals the role of political and social institutions in maintaining a binary gender system and in both exploring and suppressing challenges to that system” (McCracken). Again, Buffini takes themes originating from a historical source and brings them into the modern day; demonstrating that performativity of the male gender is inexplicably tied to power and subsequently questioning how gender ambiguity continues to threaten authority.
https://www.cbc.ca/news2/interactives/women-politics/
About the Playwright By Jason Chinn
Moira Buffini (born in Cheshire, England in 1965) is a playwright, screenwriter, director and actor. Select plays include Blavatsky’s Tower, Gabriel, Loveplay, Dinner, Dying for It, A Vampire Story, Marianne Dreams, Welcome to Thebes, and Handbagged. Silence received its premiere in London, England at the Arcola Theatre in August, 2005. In recent years, Buffini has become a proponent for large cast plays and is a founding member of The Monsterists, a collective of playwrights in Britain devoted to producing theatre on a large scale. The Monsterists’ production wonder.land, a musical adaptation of Alice in Wonderland with a 22-person cast, premiered at the Palace Theatre Photo Credit: Hulu Press in Manchester in 2015 (book by Buffini and music by Damon Albarn). in London’s Olivier theatre, Buffini is Buffini also advocates creating more vocal about the underrepresentation space for women in film, television and of women playwrights on the world’s theatre. She co-created ITV Encore series stages. Speaking to Alexis Soloski of The Harlots, which explores sex work in 18th New York Times, she states, “I want to be century London. The series not only in the canon…There are so few women employs women directors and writers in the canon. That’s my ambition, really. but also tells the stories exclusively Just to write lasting work and to blaze the from womens’ perspectives. As one of trail for all the younger female writers only two living female playwrights to who are coming up. To say, It’s all yours. have had a full-length play produced You deserve it. Take it.” (Soloski)
Awards: Jordan, Time Out Award for acting, Writers' Guild Award for Best Fringe play. Gabriel, LWT Plays on Stage award and the Meyer-Whitworth Award. Silence, 1998 Susan Smith Blackburn Prize for best English-language play by a woman. Dinner, Olivier Award for Best Comedy (nomination). 9
About the Playwright continued
Works cited: Firth, Matthew. “Queenship and Power: The Political Life of Emma of Normandy.” The Postgrad Chronicals, 4 April 2019, thepostgradchronicles.org/2019/04/04/ queenship-and-power-the-political-life-of-emma-of-normandy/ McCracken, Peggy. "'The Boy who was a Girl': reading gender in the 'Roman de Silence.'." The Romanic Review, vol. 85, no. 4, 1994, p. 517+. Literature Resource Center, http://link.galegroup.com.login.ezproxy.library.ualberta.ca/apps/doc/A17474729/ LitRC?u=edmo69826&sid=LitRC&xid=0d803fdf. Accessed 18 Apr. 2019. Soloski, Alexis. “A Big-Minded Playwright Pares Down.” The New York Times. 27 December, 2014. https://www.nytimes.com/2014/12/28/theater/moira-buffini-on-dying-for it-at-atlantic-theater.html
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STUDIO THEATRE 2019-2020 SEASON RICHARD III
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LOOKING BACK STUDIO THEATRE 2018-2019 SEASON PHOTOS BY ED ELLIS LENIN'S EMBALMERS By Vern Thiessen October 11 - 20, 2018
ON THE VERGE By Eric Overmyer November 29 December 8, 2018
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ALL FOR LOVE By John Dryden February 7 - 16, 2019
MIDDLETOWN By Will Eno March 28 - April 6, 2019
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Administrative Staff
Production Staff
Melanie Dreyer-Lude Chair, Department of Drama Julie Brown Assistant Chair, Administration David Prestley Theatre Administrator / Events Coordinator Liz Ludwig Graduate Advisor / Executive Assistant Connie Golden Undergraduate Advisor Helen Baggaley Office Coordinator Danielle Dugan Box Office Coordinator / Events Assistant
Gerry van Hezewyk Production Manager Larry Clark Technical Director, Timms Centre Matthew Skopyk Sound Supervisor Jeff Osterlin Lighting Supervisor Don Mackenzie Technical Director, Studios Darrell Cooksey Master Carpenter Jane Kline Properties Master Joanna Johnston Wardrobe Manager Karen Kucher FAB Costumer Julie Davie Cutter
With assistance from Faculty of Arts staff: Pamela Osborne Marketing and Communications Advisor Erik Einsiedel Communications Associate
Front of House STAFF
Bonita Akai, Akari Fujimoto-Hoekman, Terri Gingras, Konstantine Kurelias, Ben Osgood, Emily Pole, Candice Stollery, Molly Thomas, Jake Tkaczyk, Sandy Xu
Volunteers
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Donors Heartfelt thanks to the individuals, foundations and organizations listed below for recognizing the importance of the arts by directly investing in the Department of Drama’s innovation and leadership in theatre training and performance. A round of applause to our supporters! Baha & Sharon Abu-Laban Jane Alton Vera Apletree Diana Bacon Annalisa & Doug Baer Barbara Baer Pillay Helen Baggaley Carole & William Barton Lindsay D. Bell Kathleen & William Betteridge Bonnie & Richard Bowes Joseph Piccolo & Julie Brown Jean-Pierre Fournier & Sharon Busby Adolf & Kathleen Buse Nancy Cheng Brent Christopherson Lesley Cormack Kevin & Lorna Crockett Brian Deedrick Brent Webster & Jacquie Eales Jim & Joan Eliuk Anna & Mike Giles Arnold Grandt Gene & Michele Gregoret
Matthew J. Gusul Kelly Handerek Christopher Head Stephen Heatley Steven Hilton Brenda & John Inglis Pavel & Sylva Jelen Margaret Keene Jane King Don Mackenzie Isobel Mailloux Amin Malak Lawrence & Nicole Mallet John & Peggy Marko Heleen & Rod McLeod Andrew & Anna Mioduchowski Adam & Keri Mitchell June & Rod Morgan Elaine & Peter Mueller Ruth Nishioka Audrey O'Brien Esther & Jack Ondrack Martha Pankratz Joan & Kenneth Roy
Terrance Rowswell O'Connor Award Fund at the Edmonton Community Foundation Alan & Ramona Sather Linda Seale Albin J.E. Shanley Gloria M. Strathearn Lauren Thomas Thomas Usher Gilda L.F. Valli Henriette Van Hees Sonia Varela Doug Warren Alan & Lorraine Welch Kathy & Lorris Williams Philiana K. Wong Diane Zinyk Various Anonymous Donors Estate of Allan David Bleviss Estate of Josephine Anne Bensted I.A.T.S.E. Local 210 Health & Welfare Account
This list includes those who donated to various Drama funds from May 1, 2018 to March 31, 2019. Apologies for inadvertent omissions or errors. Contact 780-492-2271 for corrections.
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