In 2015/16, we invested in work-in-progress as we piloted Studio 180 IN DEVELOPMENT, our new play development initiative. In November 2015, three-weeks of activity gave six Canadian theatre creators a helping hand as they developed new works exploring provocative social and political issues. A distinctly artist driven initiative, the program provided creators the time, space and support required to bring burgeoning ideas to the stage. We’re delighted to announce that in 2016/17 we’re taking two of last year’s projects into the next phase of development, and introducing artists and audiences to three exciting new pieces.
Our 2016/17 participants are
Studio 180 IN DEVELOPMENT Partner
J.P. Bickell Foundation
COMING UP: APRIL 2017 READINGS
Roseneath Theatre Studio
651 Dufferin Street, 3rd Floor (Dufferin and Dundas)
Tuesday, April 4 @ 7PM @ This Great City, by Paul Dunn
Friday, April 14 @ 7PM • The United Nathans, by Jason Sherman
Saturday, April 15 @ 7PM • Later I Can Tell You About Jesus, by Hannah Moscovitch
Stay tuned for details about how to reserve your seat for our public readings.
Wednesday, April 5 @ 11AM • This Great City, by Paul Dunn
Monday & Tuesday, April 10 & 11 @ 11AM • The United Nathans, by Jason Sherman
Wednesday, April 13 @ 11AM • Later I Can Tell You About Jesus, by Hannah Moscovitch
Student readings are currently fully booked. For more information, contact Jessica Greenberg.
NOVEMBER 2016 READINGS
BY Marie Beath Badian
DIRECTION & DRAMATURGY BY Kimwun Perehinec
FEATURING Bilal Baig, Maddie Bautista, Darrel Gamotin & Cynthia Hicks
United Nathans (formerly Ariel’s Wall)
BY Jason Sherman
DIRECTION & DRAMATURGY BY Joel Greenberg
FEATURING Jonas Chernick, Leah Doz, Victor Ertmanis, Murray Furrow, Jessica Greenberg, Qasim Khan, Michael Rubenfeld & Richard Waugh
by Marie Beath Badian
Marie Beath is a playwright, performer, director and arts educator. Her plays include Prairie Nurse (Blyth Festival), The Making of St. Jerome (Next Stage Theatre Festival, nominated for three Dora Mavor Moore Awards), Mind Over Matter (part of AutoShow, Convergence Theatre) and Novena (UnoFestival Victoria, Toronto Fringe Festival). Her radio work includes Yellow Rubber Boots (CBC Outfront) and an adaption of Novena (CBC Radio – The Drama of Immigration). She was Playwright-in-Residence for fu-Gen Asian-Canadian Theatre Company (2008-2009) and Project:Humanity (2010-2011). She was a member of the 2010 HotHouse Playwright Unit at Cahoots Theatre Company, 2011 and 2013 Tarragon Playwright Units, 2015 Soulpepper Playwrights’ Circle and the 2016 Factory Theatre’s Natural Resources mid-career creators unit. Marie Beath spent two seasons as Director of the Blyth Festival Young Company, two seasons as Co-Director of Youth Programs at Nightwood Theatre, two seasons as Associate Artistic Director/Associate Artist at Theatre Direct Canada, and five seasons as the Program Director for the Play Creation Unit at Carlos Bulosan Theatre. Directing and dramaturgy credits include Reverend Jonah (Blyth Festival – nominated for 2008 Governor General’s Award) and Future Folk (Sulong Collective/Theatre Passe Muraille). Upcoming: The Making of St. Jerome will be published by Playwrights Canada Press in Spring 2017.
About the project:
“We didn’t plan to be here. Did you ever dream or wish that you’d be in a place like this? You and me, we hooked up because we’re here. Don’t wanna be here. But we’re here.”
Originally commissioned and developed with Project:Humanity, Common: Part I and Common: Part II are inspired by kids killing time in the common room at Toronto’s largest youth homeless shelter.
by Paul Dunn
Paul is a playwright, actor and instructor. In 2007 & 2008, Studio 180 produced his play Offensive Shadows (NOW Magazine Audience Choice Award winner, SummerWorks 2007). His other plays include Outside (Dora Award nomination for Outstanding New Play – TYA), The Gay Heritage Project (co-author, Dora Award nomination for Outstanding New Play), Memorial (Herman Voaden Honourable Mention), Dalton and Company and BOYS. His play High-Gravel-Blind was the first play produced at the Stratford Festival’s Studio Theatre when it opened in 2002. As an actor, Paul has spent seven seasons at the Stratford Festival, and worked with Buddies in Bad Times, the Thousand Islands Playhouse, Driftwood, The Grand, Tarragon, Canadian Stage, YPT, NAC, MTC, the Citadel and TNB, as well as in television, radio and film. He has been a guest instructor at the National Theatre School in the Acting Program, and he is a graduate of the Theatre Arts Program at Grant MacEwan College and the Acting Program at the National Theatre School.
About the project:
A fantasy of liberal extremism and a meditation on urban rage told in direct address, flashbacks and three-part harmony, This Great City examines the ideological divide between “the left” and “the right.” Originally a vaguely fictionalized exploration of the Rob Ford mayoralty, in our 2015 workshops the broader themes of activism, electoral politics, fear mongering, class warfare and the death of political discourse emerged. With the divisive legacy of Rob Ford still looming large and Donald Trump poised to become the Republican presidential candidate, the tension between left and right is at a breaking point. Are conservative voices a threat or a catalyst to action, and how do you legitimately convey a point of view that is directly in opposition to your own through art?
by Hannah Moscovitch
Hannah Moscovitch is an internationally renowned Toronto-based playwright who has been dubbed “an indie sensation” by Toronto Life magazine; “the wunderkind of Canadian theatre” by CBC Radio; and “the dark angel of Toronto theatre” by Toronto Star. Hannah’s writing for the stage includes East of Berlin, This Is War, Little One, infinity, What a Young Wife Ought to Know, The Russian Play and In This World (for teenage audiences). Hannah’s plays have been produced across the country, from coast to coast, as well as in the United States, Japan, Britain and Australia. In 2014, Hannah became the first playwright to win the Trillium Book Award. She’s won the Toronto Critic’s Award for Best New Canadian Play, Toronto’s Dora Mavor Moore Award for Outstanding New Play and the SummerWorks Performance Festival Prize for Production. She’s been nominated for the Governor General’s Award, the Siminovitch Prize and the international Susan Smith Blackburn Prize. Hannah has been a playwright-in-residence at Tarragon Theatre since 2007 and, in 2016, was named a recipient of the $150, 000 Windham-Campbell prize, which celebrates literary achievement and promise among American and international writers.
About the project:
Loosely inspired by a story close to home, Later I Can Tell You About Jesus explores how the tension between freedom and culture can turn violent: a headstrong, rowdy girl and her traditional father battle it out in Toronto’s West End.
As wars were waged over niqabs and hijabs during the 2015 election campaign, questions about cultural assimilation, assumptions about the place of women in observant religious communities and “barbaric cultural practices” came to the fore. Who are outsiders to intervene and does any desire or compulsion to do so come from deep-seated cultural bias?
by Jason Sherman
Jason Sherman is a multi-award-winning screenwriter and playwright. He developed, wrote and executive produced the 8-hour miniseries Bloodletting & Miraculous Cures, and has also written episodes of Z.O.S., ReGenesis and The Murdoch Mysteries. He wrote the television docudramas Jonestown: Paradise Lost and We Were Children, both of which were nominated for Canadian Screenwriting Awards. Jonestown received the Best Canadian Program award at the Banff Television Festival. His plays have been seen across the country and throughout the world, and include Reading Hebron, The League of Nathans, Patience and Three in the Back, Two in the Head, which won the Governor General’s Award for Drama and was recently produced in Beijing. He has received several other GG nominations, as well as three Canadian Screenwriting Awards. Jason is currently Studio 180’s Playwright in Residence.
About the project:
New to Studio 180 IN DEVELOPMENT this year, United Nathans is a welcome return not only to the story of “the Nathans” – which has captivated audiences worldwide in The League of Nathans and Reading Hebron – but also to a provocative voice that has been absent from local stages for far too long. While Jason’s play functions in some ways as a final instalment in a decades-spanning trilogy, it also manages to stand on its own, for those unfamiliar with his previous works. Thematically, it explores the intractability of the conflict in the Middle East and the fragility of Western idealism when confronted with the realities of a seemingly endless history of cultural, religious and political animosity. Sprawling in its conception, Jason will use the Studio 180 IN DEVELOPMENT process to solve the innate theatrical challenges of a piece that uses doubling, multiple languages and a broad physical landscape.