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    Curtain rises on School of Drama and Music

    For years, drama and music scholarship have been regarded as separate fields of study. Slowly, though, that’s changing, and Queen’s School of Music and the Department of Drama have come together to take advantage of that trend.

    The School of Drama and Music officially came into existence on July 1 after years of planning. Queen’s Senate approved the merger in April.

    [Craig Walker and Ireneus Zuk]
    Craig Walker (left) will serve as the interim director of the Queen's School of Drama and Music while Ireneus Zuk will become the interim associate director.

    “Collaborations between music and drama are natural, and dialogue between these scholarly fields is now increasing,” says Craig Walker, who will serve as interim director of the new school during the transition period. “While the merger arose in part by the need to use resources more efficiently and boost the units’ profile within the Faculty of Arts and Science, it’s really an aspirational move rather than one of desperation. We want to become an innovative unit that provides enhanced teaching, research and creative work at the intersection of music and theatre.”

    The two departments have collaborated in the past. Before the merger, the units worked together to offer a musical theatre course. Furthermore, faculty members collaborated on a number of independent study courses and on some research projects.

    The merger will allow for an expansion of that work and support excellence in the study of musical theatre.

    “Musical theatre is rife for innovation as it enjoys a rapid international expansion and embraces new forms of cultural exchange,” Dr. Walker says. “We want to look at musical theatre in an integrated way that gives student opportunities to explore different areas of the endeavour.”

    One major initiative made possible by the merger is a new Bachelor of Musical Theatre program Queen’s is developing with St. Lawrence College. The school is also looking at creating a graduate diploma in arts leadership in collaboration with staff at the Isabel Bader Centre for the Performing Arts. In fact, the opening of the Isabel further spurred on the merger, which had been discussed for several years.

    “The world-class teaching and performance spaces in the Isabel have enhanced the learning experience for both drama and music students,” Dr. Walker says. “We believe that by working together, we can elevate our programs to match the professionalism and prestige that comes with sharing quarters in that beautiful building.”

    All degree plans in Drama and Music will continue to be offered in the new school. Dr. Walker notes that he expects they will be enhanced by the merger as students will now have more opportunities to branch out and take different courses. Ireneus Zuk will serve as interim associate director of the new school during the transition period. Dr. Zuk is a professor and renowned pianist.

    The Artists Among Us: A creative canvas of hot wax

    [Christine Jamieson]
    Artist Christine Jamieson, seen in her home studio, says she enjoys encaustic painting because it's “very sculptural.” Below are three of her paintings. The dinosaur (not encaustic) was part of the on the wall street art festival in Kingston. (Submitted Photos)

    Christine Jamieson loves the process of working on an encaustic painting. The art form is also called hot wax painting, and involves just that: heating up wax. The melted wax can then be pigmented and applied to a surface, whether it be wood, paper or canvas.

    [Christine Jamieson - Sun]“It’s very sculptural,” says Ms. Jamieson, who works at Queen’s as a graphic designer in the marketing department of University Relations. “There are so many ways to express yourself. I love carving into the wax once it has dried, and if I’m not happy with something, it’s easy to scrape off.”

    At Queen’s since 2008, Ms. Jamieson works full-time but finds that she migrates into her home studio after her young daughter is asleep, often working from 8 or 9 pm till close to midnight. Alternatively, on some weekends, her daughter and partner may head out for a few hours and she steals away to work on a piece.

    “It’s really therapeutic. Right now I am working on a series influenced by my mother, who has started to prematurely lose her short-term memory. I am trying to find a way to express the way she sees the world, the immediacy. She lives so much in the present and is so captivated by details – the light of the water in a swimming pool, or the texture of a sofa cushion,” says Ms. Jamieson.

    [Christine Jamieson - Worm]“She is also trying to hold onto moments, taking bits of tangible things – a paper cup from a burger place that she’s written our names on – so she doesn’t forget them. I think bringing her into my painting is one of my ways to cope with her illness.”

    Ms. Jamieson has always been creative but she didn’t start painting steadily until she took a workshop in encaustics back in 2007, and loved the form. She slowly built up her studio and now enjoys using many different media in her paintings, including photos and other paints, such as watercolours and oils. She is also starting to get into illustration. 

    Much of what Ms. Jamieson does at home feeds into her work at Queen’s, even if it’s simply on a sub-conscious level. In marketing, she designs print and electronic material for the university, including viewbooks, magazines, web pages and identity development. 

    [Christine Jamieson - Skirt]“I don’t often think about it, but the imaginative work I do in my painting does work its way into my designs. If, for some reason, I’ve been thinking about dinosaurs at home – maybe working on something with my daughter – somehow that playful element, even if it’s not dinosaurs, will work itself into the designs. That vibe is in there.”

    Ms. Jamieson has exhibited her work in several exhibitions in Kingston, and works on commission. View more of her paintings at christinejamieson.com. She is also interested in starting a lunch-hour field sketching group – if you’re interested, contact her at jamiesnc@queensu.ca

    A new acquisition for the Agnes

    Jacquelyn N. Coutré remembers what it felt like when she learned that she had successfully acquired an important Old Master painting for the Agnes Etherington Art Centre. 

    “I felt tremendous exhilaration,” she recalls. “There may have been a little dance in my office as well.”

    [Ruth and Naomi]
    JanVictors, Ruth and Naomi, 1653, oil on canvas, 108.6 x 137.2 cm, Purchase, Bader Acquisition Fund, 2015 (58-002). Photo courtesy of Sotheby’s, Inc.

    For Dr. Coutré, the acquisition of the painting by Jan Victors, entitled  Ruth and Naomi, is a significant one for a number of reasons. Not only is it the first painting by the artist to enter into the gallery’s permanent collection, it also rounds out the scope of its Old Master works – specifically those by Rembrandt and his followers.

    While Dr. Coutré, the Bader Curator and Researcher of European Art at the Agnes, says it is unclear whether Victors studied formally with Rembrandt around 1640, the painting, which was created in 1653, certainly takes elements of his style in its gestures and facial expressions.

    Ruth and Naomi depicts a scene from the Old Testament’s Book of Ruth (1:15-17) in which the widowed Israelite Naomi urges her widowed Moabite daughter-in-law, Ruth, to return to her people to find a new husband. Ruth, however, vows to stand by Naomi as widows related by marriage, even though it means that Ruth could forgo remarrying and having a family.

    “Victors has captured just this moment, when Ruth pledges her allegiance to Naomi, and the latter struggles to accept her decision. It really pares down a complicated narrative to the most essential emotional moment of the story,” Dr. Coutré explains.

    While Rembrandt was working on a small scale, Ruth and Naomi is an impressive 109 x 137 cm – a large painting by the standards of the day.

    “When you think about Dutch paintings, they tend to be small because they had to fit in tall, narrow Dutch homes,” she says. “This painting would have made a statement in a variety of ways, not the least of which is because of its size.”

    The painting, which was purchased with the support of the Bader Acquisition Fund, has special significance because it was a work that Dr. Alfred Bader himself had once wished to purchase at auction in 1988.

    “At the time, he went for another painting that is now in the Agnes collection,” says Dr. Coutré, “but he had always regretted not buying it. It stayed in his mind. So he was excited when he saw that it was coming up at auction. It was really the fulfillment of one of his collecting desires.”

    While Dr. Coutré and Dr. Bader discussed the possibility of acquiring Ruth and Naomi for the Agnes collection together, it was she who put in the successful bid on behalf of the gallery. “I really wanted it,” she says happily of her first acquisition since stepping into her role at the Agnes in April of this year. “It’s simply a gorgeous painting.”

    Dr. Coutré anticipates that Ruth and Naomi will be exhibited for the first time in the summer of 2017 as part of an exhibition celebrating Dr. Bader’s many years as an art collector and marking his 50-year relationship with the Agnes.

    For more about Ruth and Naomi, visit the Agnes Etherington Art Centre’s website.

    Bader fellowships ‘enliven’ humanities

    Alfred and Isabel Bader have continually shown their generous support for Queen’s University and one of their most recent gifts is coming to fruition.

    [Isabel and Alfred Bader]
    The Bader Postdoctoral Fellowships in the Humanities were created through the support of Isabel and Alfred Bader.

    The first Bader Postdoctoral Fellowships in the Humanities have brought 11 new scholars to Queen’s starting this fall and over the next two years they will teach courses as well as pursue a research program building on their doctoral research.

    “The presence of these emerging, exceptional  teachers and scholars at Queen’s will enrich the student learning experience, and enliven teaching and research activity across the humanities,”  says Gordon E. Smith, Vice-Dean, Faculty of Arts and Science.

    The 10 departments in the Faculty of Arts and Science and the appointees and their area of study, are: 

    • Art History: Jen Kennedy (PhD, Binghamton University, 2014) – Art, Spectacle and Femininity in Postwar France
    • Classics: Cristian Tolsa: (PhD, University of Barcelona, 2013) – Ancient Science and Greek and Roman Philosophy
    • Drama and Music: Monique Giroux (PhD, York University, 2014) – Music and the Articulation and Representation of Métis Identity
    • English: Emma Peacocke (PhD, Carleton University, 2013) – Literary Romanticism and the Discourse of University Reform in Britain and Canada
    • Film and Media: Tracy Zhang (PhD. Simon Fraser University, 2012) – Critical Media Studies and Global Cultural Industries
    • French Studies: Julien Lefort-Favreau (PhD, Université de Montréal, 2013) – French Autobiography and Politics (1960s to the present)
    • History: Vanessa Cook (PhD, University of Wisconsin-Madison) – US History and Contemporary Public Protests
    • Languages, Literatures, and Cultures: Jennifer Hardwick (PhD, Queen’s University, 2015) – Literary Voices and Indigenous Youth
    • Philosophy: Anthony Fisher (PhD, Syracuse University, 2012) – Metaphysics; History of Philosophy
    • School of Religion: Sharday Mosurinjohn (PhD, Queen’s University, 2015) – Contemporary Religious Movements; Christopher Byrne (PhD, McGill University, 2015) – Chinese Religions

    For Dr. Giroux, an ethnomusicologist, the fellowship will allow her to gain valuable experience and continue her research into the ways in which music is used within the Metis culture.

    “For me it’s a really important stepping stone in my career and also a really important opportunity to do additional research,” she says. “A lot of us go into academics because we enjoy the research aspects of it and once you finish your PhD it can be difficult to get the resources in order to continue that research.”

    An event celebrating the Bader Postdoctoral Fellows is planned for the fall.

    Alfred Bader (Sc’45, Arts’46, MSc’47, LLD’86) and Isabel Bader (LLD’07) are Queen’s most generous benefactors. They have given back to Queen’s in countless ways: transforming the campus, enriching the student experience, supporting scholarship, and helping to enhance the University’s reputation as a top-tier educational institution. In an extraordinary philanthropic gesture, the couple funded Queen’s purchase of a 15th century English castle – Herstmonceux – that has been meticulously restored and is now home to the Bader International Study Centre. Last fall, thanks to a transformational gift from the Baders, the Isabel Bader Centre for the Performing Arts was opened.

    'Making good things happen'

    [Agnes Etherington Art Centre]
    The Agnes Etherington Art Centre recently received funding from the City of Kingston as well as through an anonymous gift. (Supplied Photo)

    Staff and supporters of the Agnes Etherington Art Centre (‘the Agnes’) are celebrating news that the gallery has been awarded a significant grant and that it is the recipient of an anonymous gift, both of which will directly support its operations and programming.

    As well as a $75,000 Operating Grant from the City of Kingston Arts Fund (CKAF), the gallery has been given an anonymous gift through the Community Foundation for Kingston and Area (CFKA).

    “It’s a real vote of confidence,” says director Jan Allen. “The CKAF grant is a substantial one within the city’s terms. It not only allows us to accomplish great things – it’s an important piece of the funding puzzle, because we can leverage the city’s support for support from other granting bodies, foundations and other levels of government.” 

    As Ms. Allen explains, while Queen’s provides the gallery’s facilities and a portion of its funds, the Agnes is also heavily reliant on outside sources of money, including government grants.

    “We are a bit unusual in that we are not just a university gallery,” she explains. “We are also the public art museum for the region, which was, in fact, Agnes Etherington’s intention when she bequeathed her home to the university. She wanted it to be used as both an art centre for Queen’s and for the Kingston community.”

    Ms. Allen says that as a result the Agnes, which employs 10 full-time and three part-time staff, as well as a number of students who work in casual positions, serves both the university and Kingston communities equally.

    “Attendance is really split between Queen’s and non-Queen’s people,” she explains. “And in fact, that’s an important aspect of our work, because we are a meeting place between the university and all its exciting assets, and a lively community. The Agnes is a real point of integration.” 

    The Agnes’ staff are currently preparing for a busy fall season which will include exhibitions of contemporary works by Vancouver-based artist in residence Judy Radul and local artist Ulrich Panzer, Canadian historical works from the Hart House Collection at the University of Toronto, paintings by past winners of The Kingston Prize, and an exhibit of the early work of Ojibwe artist Carl Beam. As well as community programming including artist talks and other public programs, the gallery will introduce its new ArtZone initiative, a free drop-in after-school program for youth.

    “Any funding we get is vital because it allows us to do what we do for the community,” says Ms. Allen. “It allows us to make good things happen.”

    For more information about the Agnes Etherington Art Centre, visit their website.

    A unique viewpoint

    Queen's researcher Amber White gets Aboriginal students to utilize canvas to tell the story of their lives.

    “May I borrow your story?”

    This was the question asked by Queen’s researcher Amber White when she travelled to Sudbury for a research project. The Master’s of Education student encouraged eight Aboriginal youth in the N’Swakamok Native Friendship Centre to explain why they left high school before graduation, using nothing but paint, a brush, and a blank canvas.

    Amber White's new art show documents the lives of eight Aboriginal young people.

    The result is Speaking Through Acrylic: Potholes, Loss and Dreams, an art exhibit created by those eight Aboriginal students that delves deep into their lives and doesn’t pull any punches. From bullying, to teenage pregnancy and loneliness, the eight canvasses are stark and unforgiving.

    The show has been mounted in The Studio, located in the Queen’s Faculty of Education.

    “I travelled to Sudbury and they trusted me,” says Ms. White. “This was a humbling experience and I hope it resonates. It’s important to know why urban aboriginal youth withdraw from mainstream schools. Without their voices, there won’t be change.”

    The name of the show reflects the message the students want to convey. Potholes are symbolic of the roadblocks these youth continue to face and overcome, while loss is something each participant has felt in their lives. Each has dreams for the future; some of these dreams were taken away, while some are still held near and dear. Each of these complexities and emotions come together within the eight pieces of art.

    “This is a unique way to tell a story and I hope we listen,” says Ms. White. “The students want their teachers to come to their defense, to understand what they are going through. It’s a serious situation. These students are dropping out of school and some aren’t coming back.”

    Going forward, Ms. White has plans to return to Sudbury to continue her research.

    “I also want to give back to the community that welcomed me in. Some researchers go and just take and take,” she says. “I want to give them something in return.”

    The show opens Tuesday, July 28 with a special Thanks Giving ceremony at 1:30 pm. The show runs every day from 1:30 to 5:30 pm until Friday, Aug. 14.

    To learn more about the N’Swakamok Native Friendship Centre visit the website.

    Artists Among Us: Solitude allows the words to flow

    The Artists Among Us is a series of profiles of Queen’s staff members who pursue artistic endeavours in addition to their work at the university. The Gazette will feature staff members on an occasional basis and welcomes suggestions. If you have ideas of people to profile, please contact Wanda Praamsma at wanda.praamsma@queensu.ca

    Musician Megan Hamilton, an administrative assistant in the Faculty of Law, will be performing this summer at the Wolfe Island Music Festival, while her new album is set to be released in September. (University Communications)

    Megan Hamilton first started writing music when she was in her late 20s, while in Toronto after studying theatre at Ryerson. She was living alone for the first time in her life, and while lonely at times, she found the solitude freeing.

    “I started writing music, short stories, plays. There was no social media at the time, and I didn’t have a computer – very few distractions,” says Ms. Hamilton, now a well-regarded Canadian musician who also works full-time as an administrative assistant in the Faculty of Law. “I felt I didn’t need anyone’s permission and it became a really creative time for me.”

    Even though she never imagined herself singing, Ms. Hamilton recorded a few songs with a friend. It was then that she decided she “could do this,” and instead of pursuing theatre, she moved into the musical sphere. 

    “I liked that with music, I didn’t have to wait for other people, which I felt like I was doing in theatre,” she says. “I could just go out and do my own thing.”

    A few years later, in 2006, she released her first album, Feudal Ladies Club, and since then, she’s toured across Canada, promoted several more albums, and developed a following for her folk/pop-edge/shoegaze style. In August, Ms. Hamilton will be on stage at the Wolfe Island Music Festival, and on Sept. 25, she releases her fifth album, Forty Warm Streams to Lead Your Wings. This latest album is being produced by singer/songwriter and producer Jim Bryson, who has toured and/or recorded with The Tragically Hip, Sarah Harmer and Kathleen Edwards, among others.

    “It’s a really busy, exciting time,” she says. “It’s satisfying, getting my music out there, since it’s a much bigger challenge these days.” 

    Ms. Hamilton also combines life as a musician and Queen’s staff member with life as a parent, as mother to a four-year-old daughter. It’s a delicate balance, she says, to find time for everything, and the space to write. 

    Like her early days writing alone in Toronto, Ms. Hamilton needs complete quiet and separation to set down the stories that become her songs. And, perhaps aptly, her lyrics are often rooted in themes of loneliness, sadness, and love/relationship issues.

    Megan Hamilton plays the Wolfe Island Music Festival Friday Aug. 7.
    Visit her Facebook page for more information about her new album, Forty Warm Streams to Lead Your Wings, and tour dates.

    “I usually start with a visual image,” she says. “Then a scene unfolds, and generally the lyrics flow pretty quickly from that. I also love playing with rhyme and rhythm. I play games – like working with syllables, trying to figure out how to structure a line. I think these things all stem from my childhood, things I used to do. On long car rides, I would count telephone poles – there’s this rhythm there – and then chop the poles down in my mind.”

    Through promoting her own music, Ms. Hamilton has become an expert organizer, and those abilities extend into her work in Queen’s Law, where among other administrative duties, she helps with event planning and payroll. She also provides public-speaking coaching for law students who are preparing for moot competitions. 

    “I really love that, working with the students,” she says. “I’m really grateful for my position in the Faculty of Law. Everyone is really supportive of my musical career, and when I do have accomplishments to share, they are always there to celebrate with me.”

    Drama professor earns provincial arts award

    Daniel David Moses is being recognized as one of Ontario’s key figures in Aboriginal arts and as an advocate for Aboriginal culture.

    Daniel David Moses is the 2014 recipient of the Ontario Arts Council Aboriginal Arts Award. (Supplied Photo) 

    The associate professor in the Department of Drama at Queen’s University recently received the Ontario Arts Council Aboriginal Arts Award for his work as a poet, playwright and essayist.

    Mr. Moses, a Delaware who hails from the Six Nations of the Grand River, arrived at Queen’s in 2003 as a Queen’s National Scholar. Adding to the significance of the award, he says, is that the jury was composed of fellow Aboriginal artists from a broad spectrum of art forms.

    “Often an artist spends their time in their room, working away just making things,” he says. “You don’t necessarily know if the audience is there, but this is evidence of it.”

    Created in 2012, the $10,000 award celebrates the work of Aboriginal artists and arts leaders who have made significant contributions to the arts in Ontario.

    Mr. Moses credits his time at Queen’s for helping him get to where he is today in an arts career that has spanned more than 30 years.

    “It’s been a wonderful supportive time for me,” he says. “It’s allowed me to clearly think about the art forms I work in and find ways of communicating the ideas I have about them – poetry, plays and essays.”

    In selecting him, the jury noted that Mr. Moses is: “one of the key figures of Aboriginal theatre, both artistically and academically, and is developing an essential Indigenous archive. He is committed to telling the stories that created this country and is an advocate for Aboriginal culture.”

    Mr. Moses is also co-editor of An Anthology of Canadian Native Literature in English, a founding text for the study of Canadian Indigenous literature, the fourth and 20thanniversary edition of which was published in 2013.

    Among his 13 published plays are Coyote City, a 1991 Governor General’s Literary Award nominee, The Indian Medicine Shows, the 1996 James Buller Memorial Award winner, and Almighty Voice and His Wife, which in January and February 2012 completed a national Canadian tour. His most recent poetry collections are River Range and A Small Essay on the Largeness of Light and Other Poems.

    Work on the Isabel earns awards

    [Isabel Bader Centre for the Performing Arts]
    The Isabel Bader Centre for the Performing Arts at Queen's University officially opened in September 2014. (University Communications)

    The Isabel Bader Centre for the Performing Arts at Queen’s University continues to win awards as the architects who designed the facility were recently recognized for their outstanding work.

    Ottawa-based N45 Architecture Inc., in association with Snøhetta Architecture Design Planning, an international design firm with offices in Oslo, Norway and New York City, were presented with the inaugural Lieutenant Governor’s Award at the Ontario Association of Architects (OAA) Celebration of Excellence in May.

    “We are very honoured to receive the OAA Lieutenant Governor’s Award,” Robert Matthews, partner at N45 Architecture Inc., says in a media release. “The Isabel Bader Centre for the Performing Arts was designed not only as a beautiful place for the public to enjoy music, but as a versatile space for the students of Queen’s University’s music, drama, film studies and fine arts departments to learn and experiment. We were inspired by Kingston’s geography and wanted to make sure the building related to its environment. The main performance hall is wrapped in wood reminiscent of the rock you see throughout the city.” 

    Also receiving recognition is Queen’s University’s marketing department for the video it created for the September 2014 grand opening of the Isabel.

    The video team received a bronze Circle of Excellence Award in the General Information Long Videos category from the Council for the Advancement and Support of Education (CASE), an international competition that attracted 3,200 entries from 700 institutions worldwide, as well as a second bronze in the Best Use of Multimedia category of the Canadian Council for the Advancement of Education's Prix D'Excellence.

    “A lot of heart and soul went into the creation of the Isabel grand opening video produced for the opening event at Queen’s held in September 2014,” says Helena Debnam, Executive Director, Marketing, University Relations. “It is a great honour to win a CASE award such as this, particularly given its international recognition and scope in higher education. This award is a testament to those in the Marketing, University Relations and North Summit Productions, who were involved in the creation, coordination and planning of this video – and also significantly the late Jerry Doiron.”

    Mr. Doiron, the inaugural director of the Isabel, passed away on Oct. 9, 2014.  

    The video features before and after images as well as drone footage and footage captured from a ferry travelling along the lake. A wide array of stakeholders were interviewed including professors, students, project managers and architects, including lead architect Craig Dykers, who was not available until the day before the opening.

    The video can be viewed at: https://www.youtube.com/watch?v=ywTSrcKcsZk

    The design of the Isabel incorporated the best features of the world’s greatest facilities and combines them with advances in modern technology to create a world-class building. The 80,000-square-foot facility features an acoustically superior 560-seat concert hall and a 100-seat studio theatre, as well as an art and media lab, a film screening room, laboratories, classrooms and rehearsal space.

    The Isabel Bader Centre for the Performing Arts was made possible by a transformational gift from Alfred Bader (Sc’45, Arts’46, MSc’47, LLD’86) and his wife Isabel (LLD’07) as well as the financial backing of the federal and provincial governments, the City of Kingston and additional philanthropic support. The Isabel is a hub for artistic study, creation, exhibition and performance at Queen’s. It is home to the Department of Film and Media and also provides learning and working space for the university’s other creative arts disciplines.


    Waste not, want not

    New production from Chipped Off Performance Collective examines our wasteful world.

    When Dan Vena arrived at Queen’s University to start his master's in gender studies, he was surprised to find the queer theatre scene in Kingston was seriously lacking. He teamed up with Queen’s drama professor and theatre artist Kim Renders, and fellow master's student Robin McDonald and formed Chipped Off Performance Collective to address the void.

    Presenting wasteAWAY at the Isabel Bader Centre for the Performing Arts are (l to r): Dan Vena, Robin McDonald and Professor Kim Renders.

    Now, three years later, Mr. Vena and Chipped Off are presenting their third show, simply titled wasteAWAY, at the Isabel Bader Centre for the Performing Arts.

    “When I moved here, I wanted to create something like Buddies in Bad Times Theatre (the Toronto-based queer theatre group) here in Kingston,” explains Mr. Vena. “We are committed to presenting work that speaks to the needs and concerns of marginalized or underrepresented communities in Kingston.”

    Running from June 4 to 6, wasteAWAY brings together a collection of talented artists, presenters and performers to weave together a story about waste. The show is designed to make the audience think more seriously about their relationship with waste.  It was when Queen’s environmental studies professor Myra Hird invited Ms. Renders to participate in genera Research Group (gRG), a transdisciplinary research group focused on waste, that the idea for wasteAWAY was born.

     “We have focused for the past three years on shows that are provocative and intense, shows that challenge the audience,” says Mr. Vena, “and this year’s show is no different. All the artists are given an equal opportunity to present their message.”

    The show starts at 8 pm each evening, and admission is $10 or pay what you can, with tickets available at the door. In keeping with Chipped Off’s focus on accessible theatre, wasteAWAY is being presented at the Isabel Bader Centre for the Performing Arts, a fully accessible venue, and an ASL-English interpreter will be available upon request.

    For more information on Chipped Off Performance Collective visit the Facebook page.


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