19/20 Season

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Learn About Our 2020 RGTC Recipients!

Studio 180 Theatre was proud to act as a recommender for the Ontario Arts Council Recommender Grants for Theatre Creators program for the eleventh year! For many of the creators whose projects earned our recommendation, the first half of 2020 has been a busy period of development. We are delighted to introduce these seven projects to you and share where they’re at as we head into the 2020/2021 season.

2020 RGTC RECIPIENTS

Lauren Brotman – her room
Rachel Ganz – Kibbitz
Amanda Lin 林美珠 – Between a Wok and a Hot Pot
Rachel Mutombo – 6×10
Sarena Parmar – The Untitled Witch Project
Ali Joy Richardson – Dad
Julie Tepperman – Man Up!


LAUREN BROTMAN – her room

her room is a story about an estranged mother and daughter who are trapped in an over-extended health care system together. The story follows Nina whose ill body makes her mind follow suit and her mother Jenny whose ill mind makes her body follow suit. As they struggle through, confront, and ultimately transcend their mental and physical imprisonment, mother and daughter begin to understand one another, propelling them into the discovery that the devastating experiences they share will ultimately allow them to heal together.


RACHEL GANZ – Kibbitz

Kibbitz is a solo show, written and performed by Rachel Ganz, wherein the playwright takes on the role of both her grandfather and herself. Inspired by her “Zeidy’s” request for help in writing a comedy show about the Holocaust, Kibbitz represents the fruits of their collaboration.

 

 


AMANDA LIN 林美珠 – BETWEEN A WOK AND A HOT POT

Amanda cheekily describes Between a Wok and a Hot Pot as “the theatrical-culinary event of the 21st century.” Together with her production assistant (and coincidentally her roommate), our protagonist leads the audience on an epic expedition through culture, appropriation, and hot pot, which is about to be the hip new food trend. Or at least, that’s the plan. Things come crashing down quickly as her PA begins to question her motivations, and Amanda is left to grapple with the expectations placed on her as an “Asian theatre artist” if she is ever to find her own authentic voice.


RACHEL MUTOMBO – 6×10

In Rachel Mutombo’s 6×10, a Black Canadian family is forced to come to terms with trauma they have been ignoring for years as a pair of siblings await the arrival of their father, who has just been released from prison for a violent crime.


SARENA PARMAR – The Untitled Witch Project

Sarena has a confession. “When I was a teenager, I practiced witchcraft with my girlfriends. We had a coven. We blessed salt and buried it under the full moon. It was the 90s. Today the witch is having another resurrection in pop culture. But now, I’m fascinated with the simple “coincidence” that witch unsurprisingly rhymes with bitch.”
The Untitled Witch Play is set during the historical period of Reformation, and seeks to investigate why, throughout history, society has demonized the witch? What is it about women that society is so afraid of? “The more reflecting I did,” Sarena offers, “the more I realized that “magic” is just a code word for female intuition, intelligence, sexuality… Power.

 


ALI JOY RICHARDSON – Dad

Dad is the story of Roy, a revered theatre school teacher who falls from grace after his misconduct with a female student. Act I takes place in his office on a Friday night, when a young male teacher (who’s also Roy’s former student) alerts him to the forthcoming allegations and struggles to show him the severity of his actions. Act II jumps ahead to an unexpected visit from Roy’s daughter who fights to get her father to atone.

What does true atonement looks like, and how we can teach ourselves and others the hardest things?

JULIE TEPPERMAN – Man Up!

Julie Tepperman’s Man Up! explores male identity, sexuality, and consent through the lens of 15 and 16-year-olds at an all boys’ private high school in downtown Toronto, during a series of “#consent” workshops led by facilitators in their late-twenties, each of whom have a complicated history with consent in their own personal lives.