Hart House Theatre

The late Donald Sutherland was not only an esteemed actor and alumnus of Victoria College – he was a fierce and lifelong champion of the University of Toronto’s Hart House Theatre.

Known for roles in M*A*S*H, the Hunger Games, Invasion of the Body Snatchers and others, Sutherland stepped up in support of the campus theatre 24 years ago when it was facing possible closure.

With the help of fellow alumnus Lorne Michaels, creator and producer of Saturday Night Live, Sutherland became co-chair of the Friends of Hart House Theatre, which was colloquially known as the“Save Hart House Theatre Campaign.”

As part of his efforts, Sutherland penned an eloquent and heartfelt letter to then-theatre manager Janet Bessey that emphasized the theatre’s impact on his life and the lives of so many others.

“It’s a theatre. It smells. It hears. It sings. It’s a theatre with arms that embrace you, comfort you, push you, and applaud you. It gives birth to people who make theatre. It nurtures them. It guides them. It sets them free and they wear the mantle of that theatre for the rest of their lives,” he wrote.

He added that Hart House Theatre was among the reasons he applied to �鶹��Ƶ in the 1950s.

“When I came to Toronto forty-seven years ago, I came for that theatre. Expressly for that,” he stated in his correspondence with Bessey.

“I’d never been inside a theatre before; I’d never even seen a play. I knew nothing but that I was an actor. I’d not played yet but that’s what I’d come to do,” he elaborated. “That theatre was where some messenger from some advisory council somewhere told my open-faced father and my stunned-in the-headlights self that that was [the] place to go if that indeed was what I wanted to do. It was.”

The correspondence, later published by a newspaper, caused a ripple effect. “Through Donald Sutherland’s personal generosity and leadership, hundreds of donors came forward and ensured that Hart House Theatre would remain a vital crucible for student artists,” says Peter Wambera, Hart House’s associate director of advancement.

Sutherland’s very first acting experiences were at �鶹��Ƶ. During his undergrad years, he participated in several theatrical productions staged by Hart House Theatre, UC Follies and Victoria College Dramatic Society.

His first acting role at Hart House Theatre was in James Thurber and Elliott Nugent’s The Male Animal (1953), which was well-received. He also earned excellent reviews from both the Toronto Star and the Globe and Mail for his role as Stephano in Hart House Theatre’s production of William Shakespeare’s The Tempest.

Other Hart House plays in which he was involved include Darkness at Noon, The Troublemakers and The School for Wives.

Sutherland also spent many of his summers acting at the Straw Hat Players, a theatre company founded by members of Hart House Theatre, along with its then director Robert Gill.

Donald Sutherland, centre, in "The School for Wives" in 1956 (photo courtesy of Hart House Theatre Archives)

Sutherland, a Companion of the Order of Canada and recipient of the Governor General's Performing Arts Award for Lifetime Artistic Achievement (Film), graduated from �鶹��Ƶ in 1958 with a degree in engineering and drama. In 1998, he received an honorary degree from �鶹��Ƶ in recognition of his acting career and his championing of social issues. Hart House co-signed the nomination, recalls then-Warden Margaret Hancock.

His support of Hart House Theatre never wavered. In 2014, through a generous donation, he created the Donald Sutherland Award for Best Performance.

“Donald Sutherland’s gift, the creation of the award, not only reflected his own unforgettable experiences at Hart House Theatre and how profoundly he valued this theatre, but it also guaranteed that there would be a permanent award to acknowledge outstanding student acting,” says Doug Floyd, Hart House’s director of theatre and performance art. “This is an extraordinary legacy that we cherish at Hart House Theatre. It will inspire and support students for many generations.”

Each year’s recipient of the Donald Sutherland Award wrote a letter summing up their experiences at the Hart House �鶹��Ƶ Drama Festival. Updates were shared with Sutherland, would often respond with a letter of his own.

Hart House Theatre plans to dedicate the fall 2024/2025 season to Sutherland in a gesture of gratitude.

Fancy footwork: Dance takes centre stage at Hart House

siddiq22 — Wed, 26 Apr 2023 15:01:50 +0000

Fancy footwork: Dance takes centre stage at Hart House

siddiq22 Wed, 04/26/2023 - 11:01

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This spring, Hart House is home to all kinds of dance – from championship events to performances and classes to learn a wide variety of genres (supplied image)

Topic

From a popular dance festival to hosting the qualifying round for Canada's national breakdancing championship, the University of Toronto's Hart House is centre stage for dance this spring.

�鶹��Ƶ will welcome some of the best breakdancers (known as "breakers") in Canada on April 29 when Hart House Theatre hosts the Ontario Open – the qualifying rounds of the Canada DanceSport (CDS) National Championships, which will be held in Vancouver in June. The winner of that series will progress to the World Dance Sport Federation's World Breaking Championship, taking place in Belgium in September.

The event comes as the status of breaking (also called "b-boying" and "b-girling") is steadily rising – the sport will even be included in the summer Olympics for the first time next year when the Games are held in Paris.

Geoff Reyes, lead organizer of the
Ontario Open breaking championship at
Hart House (supplied image)

Geoff Reyes, a graduate of �鶹��Ƶ's civil engineering program in the Faculty of Applied Science & Engineering, has been involved in the Canadian breaking scene for many years – the former Varsity athlete and dance instructor, who is the breaking sports director for CDS and the president of Breaking Canada, is the lead organizer of the Ontario Open at Hart House.

For Reyes, the founder of Ontario-based breaking groups How Hip Hop Helps and You Be ILL, returning to Hart House will be like a homecoming.

“During my time at �鶹��Ƶ, Hart House meant community and gathering. I taught breaking with the �鶹��Ƶ Dance Club and hip hop dance at the Fitness Centre," Reyes recalls. "My dance group, as well as my students, performed at the Hart House �鶹��Ƶ Festival of Dance."

Hosting the Ontario Open is just one of many ways Hart House has supported and showcased the art form of dance over the years.

“There’s a substantial dance community at �鶹��Ƶ, and Hart House Theatre is a key part of this,” says Doug Floyd, Hart House Theatre's director of theatre and performance art.

The theatre often hosts and collaborates with dance groups of all genres, including student-led ensembles such as the Silhouettes Dance Company – one of the largest �鶹��Ƶ dance troupes on campus – who will perform at Hart House Theatre later this year. Another student-run dance group, the Only Human Dance Collective, often rents the Hart House Theatre to run classes for students of all experience levels.

The University of Toronto Dance Team – which won three consecutive dance competitions in March against 28 teams across Canada, are another campus group taking to the Hart House Theatre stage to wrap up their season, presenting some of their best dance pieces in a performance on April 29.

Such collaborations are key to Hart House's ongoing commitment to programming dance, says Michelle Brownrigg, Hart House Theatre's senior director and chief program officer.

“Community and academic partnerships are so important,” she says. “For example, we have several collaborative workshops with �鶹��Ƶ's Institute for Dance Studies, with most recent support to their keynote on disability and dance earlier this year."

Kiki Ballroom Alliance (supplied image)

Some of those partnerships include the one with Breaking Canada, rehearsal space for vogue dance group Kiki Ballroom Alliance and initiatives with Dance Immersion that focus on the African dance diaspora in tap and jazz dance – a connection that was fostered by Seika Boye, director of the Institute for Dance Studies.

Hart House Theatre's longstanding association with dance is highlighted each year through the annual Hart House �鶹��Ƶ Festival of Dance – one of the largest university dance festivals in the country, the showcase offers a wide variety of performances across genres, including jazz, ballet, ballroom, modern, hip hop, musical theatre, Irish, Latin, belly dancing and k-pop. This year's event ran from March 31 to April 1 and included 60 different dance numbers.

“Some dance groups have their own large shows, but some don’t – so the festival is even more important for those smaller companies," Floyd explains.

“With such an abundance of dance groups associated with �鶹��Ƶ, participation in the festival is a great opportunity for dance groups to interact, collaborate and promote their own work and ventures.”

Breaking Canada holds a class on breakdance at the Hart House Fitness Centre (supplied image)

Dancers don't have to be onstage to enjoy some fancy footwork at Hart House, which offers several popular classes at the Fitness Centre, including Zumba, cardio dance party, Afro cardio dance, Bollywood and k-pop.

Those who get inspired by the breakdancing competition can take a new breaking class this spring. Breaking Canada, in partnership with Canadian Women & Sport, will be offering B Thee Rise, a national b-girl initiative where participants will learn the fundamentals of breaking with guidance from leading b-girls.

“Whether you’re a novice to breaking or looking to improve your abilities, this program is inclusive, safe and most of all, fun,” says Vanessa Treasure, director of fitness, wellness and recreation at the Fitness Centre.

With its focus on experiential learning through the arts and active living, Hart House's longstanding pas de deux with dance offers something for everyone on campus – from showing off skills in the spotlight to learning new moves for the first time.

�鶹��Ƶ student's musical, based on an Oscar Wilde classic, to debut at Hart House Theatre

Christopher.Sorensen — Mon, 17 Apr 2023 13:22:32 +0000

�鶹��Ƶ student's musical, based on an Oscar Wilde classic, to debut at Hart House Theatre

Christopher.Sorensen Mon, 04/17/2023 - 09:22

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Anthony Palermo wrote and directed The Gray: A Wilde Musical in Concert, which explores self-expression, generational queer trauma and what it means to find home in LGBTQ+ spaces (supplied image)

Topic

Undergraduate Students

Months before graduating, University of Toronto Mississauga student Anthony Palermo will stage a production of his play based on Oscar Wilde's novel The Picture of Dorian Gray – but with an edgy 1970s glam-rock twist

From April 20 to 22, Hart House Theatre will present an in-concert version of a new work titled The Gray: A Wilde Musical in Concert, a twist on the Wilde classic.

First produced as an audio version (currently streaming on Spotify, Apple Music and YouTube) last year by the Victoria College Drama Society, The Gray will make its onstage debut at Hart House.

The musical is the brainchild of Palermo, executive producer of the English & Drama Student Society (EDSS) at �鶹��Ƶ Mississauga. Palermo is an actor, director, writer and composer who is graduating from �鶹��Ƶ/Sheridan College’s theatre and drama studies program this spring. In addition to directing the production, Palermo also created the book, music and lyrics for The Gray.

“Hart House is very special to me – a wonderful platform, Palermo says. "It has been a place of connection – I’ve been able to network with so many theater professionals and artists.”

The Gray is only the latest work in a recent string of successes for Palermo. Last year, they were invited by the Musical Stage Company to compose and direct music for One Song Glory, a musical-theatre training intensive for youth, and also were a featured artist-in-residence for Soulpepper Theatre Company's Queer Youth Cabaret. Last June, Palermo wrote and performed a one-person musical that was reprised at the EDSS Performance Arts Festival in December.

In addition to The Gray, Palermo wrote and directed another musical, Mythic Women and their Cabaret to Save Humanity, at �鶹��Ƶ Mississauga last year. They also directed Dog Sees God (Winter 2021) and Hedwig and the Angry Inch (Fall 2022) with the Victoria College Drama Society, and are currently directing Angels in America at St. Michael’s College.

Palermo’s television work includes the CBC series Workin’ Moms and Macy Murdoch, a spinoff of Murdoch Mysteries.

Informed by real events in queer history

Inspired by Wilde’s enduring story and set in David’s Disco – a nightclub that briefly existed in Toronto’s Gay Village in the late 1970s – The Gray follows Dorian, a young singer-songwriter determined to become a star. After his photograph is taken, he becomes obsessed with the image and the power it holds. With an original, glam-rock-inspired score, the musical explores self-expression, generational queer trauma and what it means to find home in LGBTQ+ spaces.

“The inspiration came from events in the queer history of Toronto, with which I've always been fascinated, as well as [journalist] Justin Ling’s book Missing from the Village,” Palermo says. “I became extremely engrossed with that past as well as the queer themes in Wilde’s novel, and they sort of blended together in my mind.”

“It's significant to have [The Gray] on stage and to have queer bodies performing. This is really special.”

From left: Nick Palazzolo, Nell Khayutin, Giustin MacLean, Stevie Hook, Jacob Moro, Anthony Palermo and Liam Peter Donovan (supplied image)

From audio to onstage

The Gray was first produced as an audio drama, picking up wins at the �鶹��Ƶ Drama Coalition Awards last year. From there, Palermo was contacted by Doug Floyd, director of theatre and performance art at Hart House, who connected him with playwright and director Aaron Jan, who helped with the stage adaptation.

Palermo recalls how his connection to Hart House goes all the way back to when he was in high school.

“In Grade 11, I wrote my first musical for the National Theatre School Festival. We went to regionals and performed on the Hart House Theatre stage,” says Palermo, who also worked at the theatre as a �鶹��Ƶ work-study student.

Palermo credits Floyd and the rest of the Hart House Team – including education and production coordinator Gillian Lewis and marketing assistant Lindsey Middleton – for their support over the years.

“They were such grounding forces for me – they helped me build confidence,” Palermo notes.

As Palermo looks ahead to graduation, they have some advice for other students who dream of the bright stage lights.

“Get involved everywhere – work as a producer for a theatre company at �鶹��Ƶ, gain experience as a designer … There are many different facets," Palermo says.

"Try everything at least once, because we have such a rare opportunity at �鶹��Ƶ and at Hart House to be able to participate in so many things.”

For the Class of ’23, 23 suggestions for things to do before you graduate

noreen.rasbach — Mon, 09 Sep 2019 04:00:00 +0000

For the Class of ’23, 23 suggestions for things to do before you graduate noreen.rasbach Mon, 09/09/2019 - 00:00

Isabel Armiento

Topic

City & Culture

Back To School 2019

Astronomy & Astrophysics

Graduate Students

Hart House

Hart House Theatre

Leslie Dan Faculty of Pharmacy

Theatre Erindale

Toronto Pan Am Sports Centre

�鶹��Ƶ Libraries

�鶹��Ƶ Mississauga

�鶹��Ƶ Scarborough

Undergraduate Students

University College

Varsity Blues

Victoria College

The University of Toronto is a large community, so it can be easy to let exciting opportunities pass you by while here. Whether you’re new to �鶹��Ƶ or getting ready to graduate, try these 23 tips for a fun-filled university experience – or use them as inspiration to create a bucket list of your own.

(photo by Ken Jones)

1. Join the ranks of students who #BleedBlue and cheer on the Varsity Blues at a sports game. With 44 Varsity teams competing in 26 sports, there’s something for every sports fan.

2. Audition for a campus play. While it may sound intimidating, theatre troupes such as the Victoria College Drama Society, UTM Drama Club, UTSC Drama Society and many others welcome total beginners. For all you wannabe thespians, this may be your chance to score a callback – and maybe even land a role.

(Photo courtesy of �鶹��Ƶ Scarborough)

3. Check out the daily specials at Nasir’s Gourmet Hot Dog stand. Boasting low prices and rave reviews, this �鶹��Ƶ Scarborough establishment is a student staple.

4. Treat yourself by taking an elective that’s purely for fun. Choose a course that’ll actually get you excited about homework. Some examples: If you’re obsessed with fantasy then pore over The Lord of the Rings in Tolkien's Middle Ages (�鶹��Ƶ Scarborough), or if you’d prefer to spend an evening watching RuPaul’s Drag Race, then Queer Popular Culture (St. George campus) might be for you.

(Photo courtesy of �鶹��Ƶ Scarborough)

5. Visit the Farmers' Market at �鶹��Ƶ Scarborough to buy fresh, locally sourced jams, honey, veggies, meats and more and debunk the myth that �鶹��Ƶ students subsist entirely on food truck fries.

6. Take academics to new heights by studying for finals in a suspended pod at the Leslie L. Dan Pharmacy Building – or to new depths by taking your books to the Library Mindfulness Space at �鶹��Ƶ Scarborough.

(photo by David Lee)

7. Get an authentic tri-campus experience by riding the UTM Shuttle (which is free for all �鶹��Ƶ Mississauga students).

8. Attend a campus formal. Even if dances aren’t your thing, think of it as a rare opportunity to shed your sweatpants-and-a-T-shirt student aesthetic in favour of something chic.

Theatre Erindale is the production company of the theatre and drama studies program at �鶹��Ƶ Mississauga (photo by Paul Orenstein)

9. Watch a show at a campus theatre, such as Hart House Theatre at the St. George campus or Theatre Erindale at �鶹��Ƶ Mississauga. Tickets are often discounted for students – bonus points if you score free tickets by writing a review for a campus newspaper. Plays range from Shakespearean tragedies like Portia’s Julius Caesar to cult classics like The Rocky Horror Show, both featured in Hart House’s upcoming 2019/2020 season.

10. Visit Diabolos’ Coffee Bar at the University College Junior Common Room to grab a coffee – or, for that matter, lunch. With selections ranging from Nutella lattes to butter chicken, this café will satisfy any midday craving you might have.

�鶹��Ƶ Service of Remembrance at the foot of the Soldiers’ Tower (photo by Nick Iwanyshyn)

11. Attend a Remembrance Day ceremony at Soldiers' Tower for a moving recitation of �鶹��Ƶ alumnus John McCrae’s iconic poem In Flanders Fields. Remembrance Day services are held on all three campuses.

�鶹��Ƶ Scarborough students play a game of quidditch (photo by Ken Jones)

12. Compete in the Canadian Quidditch League (yes, they use actual brooms) by joining one of �鶹��Ƶ’s quidditch teams.

13. Listen to a carillon concert in Hart House Circle. There are 51 bells making up the carillon, and they range in weight from 23 pounds to four tons.

The Toronto Pan Am Sports Centre at �鶹��Ƶ Scarborough (photo by Ken Jones)

14. Take a gorgeous dip in Hart House’s pool. With its columns, vaulted ceilings and skylight, you’ll feel like you’re in Rome. Alternatively, pretend you’re a world-class athlete and go for a swim in one of the Olympic-size pools at �鶹��Ƶ Scarborough’s Toronto Pan Am Sports Centre.

15. Attend a campus trivia night – after all, university students like nothing better than proving how smart they are. Impress your professors at a faculty trivia night or join a trivia club like the one at �鶹��Ƶ Scarborough for a longer-term commitment.

(Photo courtesy of �鶹��Ƶ Student Life)

16. Train with a niche intramural sports team (or start your own) – there are a variety of options to choose from, ranging from ultimate Frisbee to cricket.

17. Experience outer space without leaving campus with AstroTours. Offered by the department of astronomy and astrophysics, each tour includes star-gazing through the McLennan Physical Laboratories’ telescopes, as well as a trip to �鶹��Ƶ’s planetarium.

18. Venture beyond Robarts and study at least once in each of �鶹��Ƶ’s more than 40 libraries. Hot tip: It is often easier to get the latest bestseller at �鶹��Ƶ Libraries than it is to wait months on hold at the Toronto Public Library.

(photo by Paul Orenstein)

19. Experience �鶹��Ƶ’s natural beauty. Plan a picnic at one of �鶹��Ƶ’s scenic quads or a hike through a �鶹��Ƶ Mississauga or �鶹��Ƶ Scarborough trail. You might even encounter the local wildlife – it’s seemingly impossible to avoid spotting a deer on a walk through �鶹��Ƶ Mississauga.

20. Hang out with a prof during an Engaging Faculty Event at �鶹��Ƶ Mississauga. These events offer students the perfect opportunity to get to know campus faculty and staff, whether it’s through a scenic nature walk across campus trails or a quirky The Office-themed murder mystery.

(photo by Laura Pedersen)

21. Wander through Philosopher’s Walk and have a deep philosophical debate. Or an existential crisis. Or an ethical dilemma. Or an afternoon nap.

22. There's a lot to do at Hart House, but here's a practical suggestion: Think about getting a haircut there.

23. Write for a campus newspaper or magazine. Join the ranks of �鶹��Ƶ’s journalistic goliaths like The Varsity (tri-campus) or The Medium (�鶹��Ƶ Mississauga) – or if you’re feeling creative, try a literary journal such as The Spectatorial or a satire paper like The Boundary.

Welcome – or welcome back! Check out these September events

Romi Levine — Fri, 30 Aug 2019 04:00:00 +0000

Welcome – or welcome back! Check out these September events

Romi Levine Fri, 08/30/2019 - 00:00

Cutline

(photo by Ken Jones)

Isabel Armiento

Topic

Our Community

Back To School 2019

Sexual Violence Prevention & Support Centre

School of Cities

Faculty of Arts & Science

Rotman School of Management

Student Life

�鶹��Ƶ Mississauga

�鶹��Ƶ Scarborough

Undergraduate Students

Summer has come to a close, but that doesn’t mean the fun is ending. Orientation week is packed with exciting – and informative – events that aren’t just for first-year students, including a parade, street festival, carnival and more.

For a break from University of Toronto-related festivities, check out select TIFF films being screened on-campus. If you’re lucky, you might even spot a celebrity.

There are plenty of September events sure to get you excited about going back to school. Here’s just a sample:

Sept. 1

Sign up with �鶹��Ƶ for the Academic Bicycle Challenge and win prizes for biking alongside – or against – peers, faculty members and other cyclists worldwide. Download the Naviki app (Google Play, iOS) from Sept. 1 to 30 to participate in this global phenomenon.

Sept. 3

Tri-campus orientation begins. Prepare yourself for an unforgettable first week by familiarizing yourself with information about orientation at the St. George campus, �鶹��Ƶ Mississauga or �鶹��Ƶ Scarborough.

Join �鶹��Ƶ experts at the tri-campus Facebook Live and Instagram conference ASKme Anything about �鶹��Ƶ and get the answers to all your campus-related questions.

Sept. 4

Show your school spirit at the tri-campus parade, beginning at 1 p.m. at Varsity Stadium, located at the St. George campus.

Continue the festivities at the Clubs Carnival, beginning at 3 p.m., located at King’s College Circle. St. George campus students should check out their college or faculty’s website to find out about college-specific club fairs.

Sept. 5

TIFF (the Toronto International Film Festival) begins, running until Sept. 15, with student tickets offered for only $11.50. On Sept. 11, catch the world première of Judy, starring Renée Zellweger as the legendary Judy Garland, without even leaving campus. The film is being screened at the Joseph L. Rotman School of Management.

Sept. 6

Hart House celebrates its 100^th anniversary with story-weaving project Encounters at the Edge of the Woods, running at the Hart House Theatre from Sept. 6 to 7.

Sept. 11

Take a break from classes and stop by �鶹��Ƶ’s annual Street Festival, located at the St. George campus along St. George Street. Enjoy the activities, music and food trucks while learning more about campus life.

Sept. 12

Join the Faculty of Music for the first installation of the weekly series Thursdays at Noon, featuring the Juno Award-winning Gryphon Trio. Check out the Faculty of Music’s 2019/20 Season guide for a complete list of events, classes and performances.

Sept. 14

Show your support for mental health awareness at the 2019 Toronto Concert for Suicide Awareness, Prevention, and Hope. Listen to inspirational speeches and performances by �鶹��Ƶ faculty, lecturers and alumni such as Norine Burgess, Dr. Andrea Levinson, Nathalie Paulin and Monica Whicher.

Sept. 17

Garner mental health resources on- and off-campus while learning to prioritize wellness over academic success at 2019 Minds Redefined, a mental health and wellness conference by the Faculty of Arts & Science that features keynote speakers Margaret Trudeau and Michael Landsberg and workshops such as “Navigating Career Uncertainty” and “failing excellently!”

Navigate Toronto’s rapidly shifting urban landscape with the first lecture in a four-part lecture series, hosted by �鶹��Ƶ’s School of Cities in conjunction with the Toronto Public Library. Where We Gather explores the interplay between city life and public spaces.

Adapt your academic skills for the workplace at the �鶹��Ƶ Career Fair, where you can network with more than 100 global organizations and employers.

Sept. 18

The Isuma artists’ collective works in conjunction with the Toronto Biennale of Art to produce Qaggiq: Gathering Place, a collection of video works that focus on storytelling and language. View the exhibition at the University of Toronto Art Centre until Nov. 30.

Sept. 19

Explore a host of opportunities in your field at �鶹��Ƶ Scarborough’s Get Experience Fair. Whether it’s through volunteering for a not-for-profit, working an on-campus job, assisting a prof’s research or studying abroad, there are plenty of ways to gain valuable – and relevant – experience.

Sept. 21

Learn how to use media and digital art as a narrative and rhetorical tool at Mixture: Digital Art and Compositional Realities, hosted by �鶹��Ƶ Mississauga.

Sept. 23

Queer Orientation is a tri-campus week of LGBTQ-focused and community-building programming, running from Sept. 23 to 28.

Stay informed about �鶹��Ƶ’s policy on sexual violence and sexual harassment. In-person consultation sessions are being held at all three campuses for staff, faculty and students: �鶹��Ƶ Mississauga on Sept. 23, �鶹��Ƶ Scarborough on Sept. 24 and St. George campus on Sept. 25.

Sept. 24

Show your support for the CIBC Run for the Cure with �鶹��Ƶ Mississauga’s warm-up event – the Pink Campus Walk. For more fundraising events and initiatives, join �鶹��Ƶ Mississauga’s Run for the Cure Ice Cream Day on Sept. 10 or their Run for the Cure Pink Luncheon on Sept. 17.

Sept. 26

Kick off the school year with a focus on wellness at Be Well UTM. Discover the wealth of wellness resources located on campus, including mental health supports, conflict resolution tools and fun drop-in fitness classes such as Introduction to Caribbean Dance.

Sept. 27

If you find yourself itching to do the Time Warp again or wondering whatever happened to Saturday night, head down to the Hart House Theatre for the opening night of The Rocky Horror Show. Catch this rendition of the cult classic for $12 to $15 until Oct. 12.

Sept. 28

Muse over works of musical genius with the first instalment of the Faculty of Music’s “What Makes It Great?” series – Beethoven’s Symphony No. 7.

Join photographer Aubie Golombek for a presentation on the relationship between form and image. Drawing on Bosch’s triptych painting “The Garden of Earthly Delights,” Golombek uses the dual media of contact print and lecture to synthesize his critical praxis.

Sept. 29

Take advantage of �鶹��Ƶ’s photogenic landscapes during the Photo Walk Around Campus. Hosted by the Hart House Camera Club, this is the perfect opportunity to refine your photography practise, curate photos for your portfolio and network with other budding student photographers.

Sept. 30

Take a break from the clamour of courses to listen to a heartrending Faculty of Music performance by soprano Nathalie Paulin and pianist Steven Philcox, inspired by Messiaen’s Chants de Terre et de Ciel.

Meet the �鶹��Ƶ faculty, alumni and supporters named to the Order of Canada

Christopher.Sorensen — Thu, 27 Jun 2019 13:46:35 +0000

Meet the �鶹��Ƶ faculty, alumni and supporters named to the Order of Canada

Christopher.Sorensen Thu, 06/27/2019 - 09:46

Topic

Faculty of Applied Science & Engineering

Faculty of Arts & Science

Hart House Theatre

History

Hospital for Sick Children

Humanities

Immunology

John H. Daniels Faculty of Architecture

Leslie Dan Faculty of Pharmacy

Ontario Institute for Studies in Education

Order of Canada

Robarts

Rotman School of Management

Sunnybrook Hospital

Varsity Blues

Victoria College

From a critically acclaimed actor to a respected immunologist, the latest appointments to the Order of Canada include several members of the University of Toronto community, reflecting the range of expertise and the diversity that make �鶹��Ƶ one of the top universities in the world.

The latest appointees to one of Canada’s highest civilian honours were named on Thursday by Governor General Julie Payette, a �鶹��Ƶ alumna and former astronaut with the Canadian Space Agency.

Of the 83 Order of Canada honourees, at least 11 have close ties to �鶹��Ƶ, from faculty members to alumni and donors.

The list includes Emmy and Golden Globe-winning actor Donald Sutherland, who graduated from Victoria College in 1958, and �鶹��Ƶ Professor and acclaimed immunologist at the Hospital for Sick Children Chaim Roifman, whose research led to the discovery of a rare congenital disorder and its genetic roots.

The recent Order of Canada honourees with connections to �鶹��Ƶ include:

Joseph Raymond Buncic is a �鶹��Ƶ professor of ophthalmology and a staff ophthalmologist at the Hospital for Sick Children. A 1965 graduate of McGill medical school, Buncic completed his ophthalmology residency at �鶹��Ƶ in 1970. He has maintained an interest in clinical research related to pediatric and central nervous system disorders during his career. “For his pioneering contributions to the field of pediatric neuro-ophthalmology, notably through his mentorship of multiple generations of pediatric eye specialists,” Buncic has been named a Member of the Order.

Chaim Roifman is a professor of pediatrics in the Faculty of Medicine at �鶹��Ƶ and head of the division of immunology and allergy at the Hospital for Sick Children. He is best known for discovering a rare congenital disorder that bears his name – Roifman Syndrome – as well as uncovering its genetic cause. He was made a Member for his contributions to the field of immunology, “notably in the diagnosis and management of pediatric primary immunodeficiency.”

Dorothy E. Smith is a celebrated sociologist who is credited with helping to bring feminist principles and perspectives to the field. Recognized as the founder of the sub-discipline of feminist standpoint theory, Smith wrote several highly-cited books including The Everyday World as Problematic: A Feminist Sociology and Conceptual Practices of Power: A Feminist Sociology of Knowledge. She taught sociology at the Ontario Institute for Studies in Education at �鶹��Ƶ for nearly 25 years until 2005. She was made a Member for “extending the boundaries of traditional sociology to incorporate a feminist perspective, and for developing institutional ethnography.”

Donald Sutherland is a critically acclaimed actor whose career spans over 50 years and 100 film credits, from The Dirty Dozen (1967) and M*A*S*H (1970) to Ordinary People (1980) and Citizen X (1995). The Saint John, N.B.-born Sutherland had never seen a theatre play prior to enrolling in Victoria College at �鶹��Ƶ, but went on take part in several productions at Hart House Theatre before graduating in 1958 and going on to establish himself as a Hollywood heavyweight. Named an Officer of the Order of Canada in 1978, Sutherland has now been promoted to a Companion “for his sustained contributions to the motion picture industry before a global audience and for his championing of social issues.”

Donald Sutherland had never seen a theatre play prior to enrolling in Victoria College at �鶹��Ƶ and went on take part in several productions at Hart House Theatre before going on to establish himself as a Hollywood heavyweight (photo by Sean Gallup via Getty Images for GQ)

Graham Fraser, who received both his Bachelor of Arts degree and his Master of Arts degree in history from �鶹��Ƶ, served as Canada’s Commissioner of Official Languages from 2006 to 2016. Fraser, who has been named an Officer of the Order of Canada, is known as a champion of bilingualism and a defender of the rights of linguistic minority communities. As a journalist, he wrote in both English and French for many of Canada’s leading news publications. He also authored five books, including the highly influential Sorry, I Don’t Speak French.

Alumnus H. Roger Garland is being recognized as a Member of the Order of Canada “for his influential leadership in business, and for his significant contributions to numerous art and health care institutions.” The certified chartered accountant is a former chief financial officer of Four Seasons Hotels and Resorts. Prior to Four Seasons, Garland was vice-president of corporate banking with Citibank in Canada and Switzerland. Garland is the founding chair of the board of Soulpepper Theatre Company, a past director of the board for the Young Centre for the Performing Arts and was a chair of the 2015 Pan Am/Parapan Am Games in Toronto.

Lotfollah Shafai is a leading expert in the field of applied electromagnetic systems and telecommunications, and is a distinguished professor emeritus of electrical and computer engineering at the University of Manitoba. Shafai, who earned his master’s and doctoral degrees in electrical engineering from �鶹��Ƶ, is credited with an array of pioneering contributions to the telecommunications field. Shafai was named an Officer for his “fundamental contributions to the fields of electromagnetics and antenna and satellite development, which have led to renowned advancements in the telecommunications industry.”

Donald Schmitt earned a Bachelor of Architecture from �鶹��Ƶ before going on to co-found Diamond Schmitt Architects in 1975. Some of Schmitt’s recent designs include the Peter Gilgan Centre for Research and Learning at the Hospital for Sick Children and the rejuvenation of the Senate of Canada and National Arts Centre buildings in Ottawa. The firm also worked on �鶹��Ƶ’s Gerstein Science Information Centre and Earth Sciences Centre and is involved with the expansion of Robarts Library and the contruction of a new residence building on the downtown Toronto campus. Schmitt was named a Member “for his rehabilitation of iconic heritage buildings and for his sustainable architecture designs.”

Nicholas Saul was made a Member for his “innovative vision and leadership as president and CEO of Community Food Centres Canada,” a national anti-poverty organization that supports access to food in low-income neighbourhoods. Saul graduated with a Bachelor of Arts in history from �鶹��Ƶ in 1990, and was also captain of the varsity basketball team.

John David Spence is a world-renowned expert in stroke prevention research, with hundreds of research publications to his name. A professor of neurology and clinical pharmacology at Western University and director of the university’s affiliated Stroke Prevention & Atherosclerosis Research Centre in London, Ont., Spence graduated from the executive MBA program at �鶹��Ƶ’s Rotman School of Management. He was named a Member for his “contributions to our understanding of atherosclerosis and to the prevention of stroke.”

Aubrey Dan is a Canadian businessman, philanthropist and award-winning producer. The son of Leslie Dan, fellow Member of the Order of Canada and the namesake of �鶹��Ƶ’s Leslie Dan Faculty of Pharmacy, Aubrey is the founder and president of Dancap Private Equity and the co-founder and executive chairman of EmpowerPharm, a speciality pharmaceutical company. As a philanthropist, Dan has donated millions to various charitable organizations – including to the Leslie Dan Faculty of Pharmacy, the Sunnybrook Foundation and the Baycrest Centre Foundation. As a producer and founder of commercial theatre company Dancap Productions, he has been dedicated to bringing Broadway-style theatre to the city of Toronto, including performances of The Addams Family, West Side Story, and Jersey Boys. Dan is being recognized for “his achievements in finance, and for his philanthropic contributions to health care, education and the arts.”

Did we miss anybody? If you know of an Order of Canada honouree with ties to �鶹��Ƶ who was announced in this round but who isn't mentioned above, please let us know at uoftnews@utoronto.ca.

'I don't like gatekeepers': Mixed-media artist Andrew James Paterson wins Governor General’s Award

perry.king — Tue, 28 May 2019 20:24:33 +0000

'I don't like gatekeepers': Mixed-media artist Andrew James Paterson wins Governor General’s Award

perry.king Tue, 05/28/2019 - 16:24

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Andrew James Paterson, a University of Toronto alumnus and Innis College graduate, was named one of eight recipients of the 2019 Governor General’s Awards in Visual and Media Arts (photo by Perry King)

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The artwork of Andrew James Paterson, a University of Toronto alumnus and interdisciplinary artist with a portfolio spanning nearly 40 years, is currently on display in the National Gallery of Canada after Paterson was named one of eight recipients of the 2019 Governor General’s Awards in Visual and Media Arts earlier this year.

A graduate of Innis College, Paterson’s videos, films and performances have appeared in Berlin, Seoul, Buenos Aires, Montréal and Toronto, among other places. He is an active programmer and curator for independent media and visual art exhibitions, including Cinematheque Ontario and Toronto’s Images Festival.

Speaking from his home, nestled above the Cameron House music hall in downtown Toronto, Paterson said he was humbled by the honour and in awe of his fellow award winners, which include Indigenous art curator Lee-Ann Martin and environmental artist Marlene Creates.

“It’s slightly unbelievable because, in some ways, [I think] ‘Me? Among that company?’” says Paterson, who sees some of his art as “conceptual one-liners” that take a critical eye to issues like language, technology, the human body, politics and capitalism.

The Governor General’s Awards in Visual and Media Arts were created in 1999 by the Canada Council for the Arts and the Governor General of Canada. Paterson’s award – in the Lifetime Artistic Achievement Award category – recognizes a body of work and its contribution to visual arts, the media arts and contemporary practices in the field.

The winners are selected by a peer committee and receive a $25,000 prize. Governor General Julie Payette presented the 2019 award recipients with a bronze medallion during a March 28 ceremony at Rideau Hall in Ottawa.

Governor General Julie Payette and Andrew James Patterson at Rideau Hall earlier this year (photo by LS Anne-Marie Brisson, Rideau Hall © OSGG, 2019)

Paterson’s vast body of work draws upon literature, philosophy, queer aesthetics, performance art and music. His work “defies singular categorization,” says his nominator Scott Miller Berry, a filmmaker and festival organizer based in Toronto.

Paterson began his career as a musician – he was the main vocalist and writer for the post-punk band The Government between 1977 and 1982. His passion for music and art was deeply influenced by his parents. His father, G. R. Paterson, was a �鶹��Ƶ professor emeritus in pharmaceutical chemistry and a big fan of classical music. His mother, Ida Paterson, was a painter.

But Paterson wanted to evolve, to be more “than just a career musician,” he says.

Paterson found the experience of attending �鶹��Ƶ in the 1970s to be “stimulating.” Between courses in English and film studies, and time spent at the Helen Gardiner Phelan Playhouse and Hart House Theatre, Paterson was able to explore his different interests – a practice that he continued throughout his career.

He also got involved with VideoCabaret, a Toronto-based mixed-media company that integrates music and video. “There was all this video around, so I started going, ‘What could I do with the medium?’” Paterson recalls.

Paterson went on to produce small animation projects and performance-based pieces. He has published numerous books – including fiction and art commentary – and edited or co-edited numerous essays and anthologies. In 2018, he published a novelette, Not Joy Division, a fictional mystery that incorporates social media elements.

To this day, Paterson refuses to limit his artistic reach, choosing instead to maintain a relationship to defined art “communities,” he says. “One thing that runs through my work is this ‘meta’ in relation to art worlds, or so-called ‘art communities.’ I try to avoid using the definite article with the word ‘community’ as much as possible.

“I don’t like gatekeepers.”

Paul Templin: Behind the curtain of almost four decades at Hart House

vzaretski — Mon, 29 Jan 2018 17:50:54 +0000

Paul Templin: Behind the curtain of almost four decades at Hart House

vzaretski Mon, 01/29/2018 - 12:50

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Paul Templin has retired after almost 40 years working at �鶹��Ƶ's Hart House (photo by Scott Gorman)

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In his 36 years of managing events, programming and the theatre at Hart House, Paul Templin met many fascinating people, but a few memories are etched on his mind: Riding in an elevator with Yoko Ono, writing letters with Christopher Plummer and escaping a fire thanks to a resident, friendly ghost.

The former Hart House Theatre director worked for the Los Angeles Shakespeare Festival, the Westwood Playhouse and the Embassy Auditorium in Los Angeles, but it was during his time at the University of Toronto that he experienced his greatest adventures in theatre.

He says he will miss the magic of live theatre: Production sets where the imaginations of talented writers, actors and stage crew came alive. But he will also miss the space that he nurtured and helped grow. His favourite seat at Hart House Theatre is at Row K, seat 2 (it has a lot of legroom and allowed Templin to sneak in and out of shows). His favourite room at Hart House (outside the Hart House Theatre) is the Great Hall.

Watch a 360 video of Hart House's Great Hall, with Paul Templin as a guide

On Nov. 26, Templin celebrated almost four decades at �鶹��Ƶ at a retirement reception hosted by his colleagues at Hart House. As he closes this chapter of his life, Templin shares with us three memories of his home away from home, from ghostly to international sensations.

1. Escaping fires thanks to Bert the ghost

When Templin managed Hart House Theatre, he would sometimes work long shifts, coming in at 8 a.m. and staying as late as 1 a.m. Sometimes he would even sleep in his office to avoid a long commute home.

One night, the door of his office swung violently open, hitting the cot that he was sleeping on and waking him up. Heavy smoke filled the room.

The door had a frosted windowpane and as it swung shut, Templin saw a figure behind the frosted door. He assumed someone had come to warn him of a fire that broke out at Hart House.

It turned out to be an electric fire, which spread throughout Hart House Theatre. “The hallway and the room next to my office were filled with smoke. There was smoke everywhere,” Templin recalls.

As a small group met outside the burning building (the caretakers and the warden of Hart House, who lived there at the time), Templin asked which one of them came by his office. None of them did. “I attributed it to Bert,” says Templin, referring to a ghost that was purportedly spotted at Hart House on various occasions. Bert was a caretaker at Hart House before he died after being struck by a streetcar on College Street.

“A few years after the fire a woman came to see me and told me that I knew her grandfather,” says Templin. “I had no idea who she was talking about, but she insisted that I knew him.” The woman’s grandfather’s name was “Albert."

Templin took her on a tour around Hart House to show her where Bert would have worked. “And as far as I know no one has seen the ghost since,” he says. “It’s almost as though her visit expelled the ghost.”

2. Pulling strings with Yoko Ono

In 2002, Yoko Ono was in Toronto for a retrospective of her work at the Art Gallery of Ontario. “She wanted to do a live performance, and it ended up being at Hart House Theatre,” says Templin. When Ono came by for a rehearsal she asked Templin if she could use his office to get ready. Templin readily agreed and asked Ono if he might be able to get a photo with her.

Later, hundreds came out to see her performance, which Templin says was an interpretive piece.

“It started as an interview with her and the president of the AGO, but at one point of the interview she took out a large black bag. She got into the bag and got naked and did the rest of the interview naked in the bag,” says Templin. “She later did a demonstration with a chair – 37 ways of using a chair, or something like that,” he says. “Then she had her assistants work around the auditorium, twisting the blue yarn around everyone, and pulling the yarn around both her toes so that everyone in the room felt the tugging.”

Templin also says she gave a piece of a puzzle to everyone in the room and told them that in 50 years everyone should come back and put the puzzle together.

“As we were going up the elevator together, Yoko said loudly, ‘Stop!’ and asked one member of her entourage to take a picture of us,” he says.

Templin didn’t think he would get to see the photo, but a month later she sent it to him in an envelope. “She was quite chatty and very nice and pleasant – a bit wacky.”

Read about Yoko Ono’s first time at �鶹��Ƶ: Her iconic concert with John Lennon at Varsity Stadium in 1969

3. Writing letters with Christopher Plummer

In 2001, the CBC asked the renowned actor Christopher Plummer to talk about receiving the Governor General's Performing Arts Award.

Around this time, there were concerns that Hart House Theatre may have to close. Templin was working on a document that outlined incorporating the theatre into Hart House as a response to possible closure.

Plummer felt personally invested in the cause. “He loved it, all his friends loved it, and he wanted it to stay open to convey how important theatre is to society,” says Templin. “He wanted to give his speech for the CBC at Hart House Theatre."

Templin got to spend the day with Plummer during the CBC shoot, and afterwards Plummer wrote a letter in support of keeping the theatre open, which Templin included in his plea to keep Hart House Theatre open.

“He was a real gentleman, such a nice man. I had the pleasure of meeting him several times. Extremely talented and generous man with his time and wisdom,” Templin recalls. The two would keep in touch, and had dinner again years later when Plummer received his honorary degree at �鶹��Ƶ.

And Templin’s plan was accepted: The theatre was incorporated into Hart House for three temporary years, and stayed open thereafter.

Below, Paul Templin in his favourite seat at Hart House Theatre. Photo and the 360 video by Veronica Zaretski.

Much Ado backstage: how a science grad landed at �鶹��Ƶ’s Hart House Theatre

lavende4 — Fri, 11 Nov 2016 18:31:31 +0000

Much Ado backstage: how a science grad landed at �鶹��Ƶ’s Hart House Theatre

lavende4 Fri, 11/11/2016 - 13:31

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Lucy McPhee: time management skills necessary in science and in theatre (photo by Scott Gorman)

Arthur Kaptainis

Author legacy

Arthur Kaptainis

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Lucy McPhee entered �鶹��Ƶ with wide eyes and an ambition shared by many undergrads: to become a doctor.

So how did the double major in biochemistry and neuroscience, who graduated last June, end up as the stage manager of Shakespeare’s Much Ado About Nothing at the Hart House Theatre?

She says the migration from laboratory to stage was gradual. She was fine with science coursework but less enamoured of the data-input duties that clinical studies entailed.

“It’s very hands on,” she explained backstage. “That’s what I really like.”

Feeling nostalgic for the extracurricular theatre and choir activities she enjoyed in high school, McPhee approached the Hart House Theatre late in her second year. As a University College student, she also volunteered for the UC Follies. But not as a performer.

“I don’t like being on stage in front of people at all,” McPhee said. “I don’t want to be looked at. But I really like being part of the production and seeing all the parts that make it work.”

McPhee thinks her grounding in science helped her as a young theatre professional.

“You have to have time-management skills,” she said. “In labs, it’s all about recovering information, knowing what has happened at every moment. So when you write the lab report you can say, ‘Oh, at this time it was like this.’

“It is similar in the theatre. You have to know that in this scene, at this time, this person is standing here. And they have this prop, and they’re wearing this costume.”

While the position of stage manager might conjure an image of someone scurrying behind the curtain and yelling “five minutes!,” McPhee in fact spends much of her time at a control panel.

As an assistant stage manager she became well acquainted with on-stage mishaps, including wardrobe malfunctions. Duelling and scuffling were abundant in the 2014 Hart House production of Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet).

“So many Shakespearean doublets,” McPhee recalled. “I probably sewed every button on.”

While the director is formally in charge during rehearsals, the stage manager has the unstated duty of making sure that people are present and paying attention.

“After the show starts running, it becomes your show,” McPhee explains. “In some professional situations, they have a formal handing over for duties, with everyone on stage.”

Personal interaction, in McPhee’s view, is what most distinguishes the theatre from the laboratory.

“This aspect doesn’t really exist in the sciences,” she says. “It’s very much a solitary field. I’ve always liked working with people.”

Her philosophy: respect begets respect. “Some people believe that actors are like children and have to be coddled. I think if you treat people like adults, they’ll step up to that.”

Doug Floyd, general manager of the Hart House Theatre, regards McPhee as a natural.

“She gets the job done with a quiet confidence that builds trust with a company. This is what the very best stage managers do. Lucy has that gift.”

He also regards McPhee as part of the Hart House Theatre family.

“Lucy as a student fully immersed herself into the environment. She had the opportunity to work with some really terrific stage managers and absorbed that information and know-how like a sponge.

“Drama or theatre may not have been part of her academic pursuits at �鶹��Ƶ but she left learning a trade, a craft. This is experiential learning at its best.”

"Much Ado About Nothing" plays until Nov. 19 at the Hart House Theatre.

Romeo, Juliet and Jeremy Hutton

sgupta — Mon, 19 Nov 2012 09:36:01 +0000

Romeo, Juliet and Jeremy Hutton sgupta Mon, 11/19/2012 - 04:36

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Nicolette Pearse, Erin Wotherspoon, Emily Dix, Alexis Budd, (front) Eric Finlayson (photo by Daniel DiMarco)

Anya Broytman

Author legacy

Anya Broytman

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Hart House Theatre

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Hart House Theatre blends Italian hip hop and Shakespeare

Anya Broytman, a first-year undergraduate student at Trinity College, asked Jeremy Hutton, artistic director of Hart House Theatre, to share some insights into Romeo and Juliet. Hutton’s energetic interpretation of the timeless love story, which premiered Nov, 7 runs until Nov. 24. (Tickets available here.)

What can audiences expect from this production of Romeo and Juliet? Did you go classic or contemporary?

It's funny: the last time when I directed contemporized Shakespeare was at Trinity College in 1999 or 2000. It was the Merchant of Venice and since then I have never modernized any of the fifteen or sixteen Shakespearean plays that I've directed.

Why?

It's a very tough business and I certainly did not succeed at it when we did this at Trinity College. Some aspects of it were good, but there are some elements that are very difficult to work with, such as guns and telephones that come into play as soon as you modernize Shakespeare. These become a big issue: why doesn't the Friar just call up Romeo and let him know that Juliet is not actually dead? This is not to mention that the cultural and sexual politics have changed. In modern context, it is hard to understand why Juliet would not just leave her household. That being said, I am setting the play in a modern context.

How so?

Fully understanding the challenges that are inherent in that, I want to do it because staging the play classically often causes people to separate themselves very far from the action: they see it as something that used to happen but would never happen now. This is why setting Shakespeare in a modern context is appealing, but you have to deal with all the issues that come up carefully. You still want to tell the story that Shakespeare wrote rather than change it to fit your own vision. This happens a lot in modern adaptations of Shakespeare: people just alter the story to suit their needs. It's not really your job as a director; your job is to illuminate the story for the audience. So I had, for instance, to deal with guns while still finding a way to keep swords in the play.

I set it in contemporary Italy and I made it really violent, steeped in insular family politics. I guess there is still a stereotype attached to Italian vendetta as well as the perception of their families being very controlling, very passionate about kinship. This helps explain the sexual politics: Juliet does not simply run away because she has this overbearing sense of obligation. Tybalt is driven by his outrage at how Romeo has "shamed" his family by showing up at their party. He feels that his family has been insulted and family insults cannot be tolerated. So, even in a modern context, contemporary stereotypes can help illuminate the story so that it makes perfect sense.

As for the issue of cell phones, we have made sure that in our modern Italy – which is a bit fictionalized – no cell phone ever arrives on the stage. It is non-existent in this particular world. Besides, this place has a dirty, violent, hip-hop feel to it; people walk around in half-militarized gear with machetes hanging from their hips. So, in our Verona, they just don't have this technology. It is a small, insular location that has fallen into chaos – something resembling not modern-day Italy, but perhaps parts of Africa.

Music associated with Romeo and Juliet ranges from iconic songs such as "What Is a Youth?" in Zefferelli's movie version to Sergei Prokofiev's score for the ballet. What role does music play in your production?

I come from a music background – I studied music at �鶹��Ƶ – so it's a big part of all the shows that I do. It's funny that Romeo and Juliet has a musical tradition because it's one of the few Shakespearean plays that doesn't have any songs written into it, unlike Twelfth Night or As You Like It. But everyone feels that it must have music, perhaps because of the party scene where we assume there is music and dancing. Once you put music into the show in one place, you have to put it in other places.

For this production, I have been digging around in modern Italian music and came across a pretty rich tradition of Italian hip hop. I was surprised at the major role that hard-style electronic hip hop plays in their modern music. Also, their hip hop is political and controversial in its social commentary. This is very interesting because Romeo and Juliet is set in political chaos; the prince cannot control Verona. If you think of him as a corrupt politician, this music works out pretty well as long as you are very sensitive to the moments where hip hop is not appropriate in terms of the storytelling.

So, when Mercutio comes on and they go to the party, there is dubstep and hip hop but as soon as Romeo and Juliet meet, something has to happen. Not only in terms of the action and movement, but also in terms of the music – you can't just keep hammering out a hip-hop tune in the background. So, I took some modern classical piano music by an Italian composer named Ludovico Einaudi and I DJ'ed it all together so that when Romeo and Juliet meet, we slip from sharp hip hop into beautiful, sustained classical music.

What can we expect visually?

As I mentioned, there will be modern Italian costumes. Most young people will be wearing a sort of cobbled together semi-military gear (think child soldiers: a jacket, some straps, and a belt for a knife combined with a regular T-shirt and jeans). So, there will be a combination of self-arming, militaristic attire and just casual young people's clothes.

The older people – the prince, Capulet and Montague – will be wearing suits. The set itself is a big monster. Structurally, it has elements of old Roman architecture, but it is made of very modernist materials. The music will create a certain atmosphere, and, since the play is modernized, be prepared: guns will come out from time to time.

What else is there to say about the design?

It is dirty and violent – especially violent – because this is, above all, a story about two young people who find love and try to make it work in a chaotic society and it simply cannot work. Not because of fate, but because of circumstances.

But fate is important to this story.

Yes, but if you play it fatalistically, then nobody has any stakes, right? At the end of the play everybody on stage – every single person except for the watchmen – is personally responsible for the bloodshed in front of them, for the deaths of Paris, Romeo and Juliet, and of Tybalt and Mercutio as well. There is not a single person on stage who is not guilty. Capulet, Lady Capulet, Montague, the Prince himself – for not doing anything about the strife, Balthasar – for leaving Romeo alone in the tomb, the Friar – for setting it all up and leaving before Juliet awakened. Everyone on stage is super-guilty of what has happened. Any one of them could have made a choice throughout the play that would have changed the ending.

Therefore, it cannot be just fate – if fate could be used as an excuse, there would be no drama, no pathos. It is critical that when the curtain goes down, all characters on stage have had a hand in what has happened and realize that the tragic outcome is, to an extent, of their making. This is more dramatically exciting. You can never tell an actor to play fate. If there are no active choices, there is no theater.

Inset photo (left to right): Paolo Santalucia and Darwin Lyons (photo by Daniel DiMarco)

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