BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Department of Theatre & Film//NONSGML Events//EN CALSCALE:GREGORIAN X-ORIGINAL-URL:https://theatrefilm.ubc.ca/events/event/ X-WR-CALDESC:Department of Theatre & Film - Events BEGIN:VEVENT UID:20211027T1017Z-1635329862.8612-EO-19033-21@10.19.146.15 STATUS:CONFIRMED DTSTAMP:20240329T063137Z CREATED:20211026T232140Z LAST-MODIFIED:20221019T000858Z DTSTART;TZID=America/Vancouver:20211125T193000 DTEND;TZID=America/Vancouver:20211204T220000 SUMMARY: Machinal DESCRIPTION: Unable to gain financial independence in the 1920s\, a young w oman is drawn into a loveless marriage with her boss. Machinal explores the societal expectations and restrictions put on women. Show runs from Novemb er 25 to December 4 at the Frederic Wood Theatre. X-ALT-DESC;FMTTYPE=text/html:
[image_spread img_url="https://thfl.cms.ar ts.ubc.ca/wp-content/uploads/sites/21/2021/10/Machinal-event-banner.jpg" ca ption="Artwork by Jonathan Wood" width="website"]
By
Sophie Treadwell
Directed by MFA Director Laura Di Cicco
Unable t o gain financial independence in the 1920s\, a young woman is drawn into a loveless marriage with her boss. Machinal explores the societal expectations and restrictions put on women. Driven by desperation for free dom\, our protagonist kills her husband. Yet the play refuses to point fing ers. Who is to blame? You decide.
[accordions collapsible=true active=false][accordion title="Director's Message"]
Looking at ourselves as a society takes work. We often nee d to sit in some very uncomfortable realizations about who we are as people . Sometimes\, those realizations need to shake us out of our seats in order to force an examination.
I c ome from an older generation of adults: the end of the baby boomers\, the b eginning of Generation X. One might argue that the two generations springbo arded a kinder\, more enlightened society. Or did we?
My parents grew up during the time period that Machinal takes place. It was the Interwar period of the 20< span style="font-weight: 400\;">th century and it was a time of incredible upheaval and change. Their stories and experiences influenced my interest in social justice. In looking at how they lived and what they experienced\, as an artist\, I often find myself reflecting on our society today.
During the Interwar period\, we saw the rise of several movements: comm unism\, fascism\, civil rights\, and feminism. Freedoms were being demanded \, yet freedoms were also being taken away. The Russian Revolution solidifi ed a communist dictatorship in Russia. The rise of Hitler and Mussolini in the 1920s solidified fascism in Europe. In the United States\, Reconstructi on was being dismantled in favour of disenfranchisement and segregation. Wo men in the United States received the vote in 1920. In Canada\, the right t o vote across the country was granted in 1918\, but it was another 11 years before women were officially recognized as “people”. Even then\, this stat us was only granted to white women. Indigenous peoples did not receive the right to vote until 1960.
On an artistic level\, extremely creative ideas were emerging and taking place . Expressionism in theatre\, while short-lived\, was at its peak in the 192 0s. It fostered a creative revolution of sorts that revealed artists were t hinking seriously about society. Germany was one country where Expressionis m took a strong and bold foothold. In reflecting on society\, the artist be lieved in bold and risky imagery that had the purpose of creating societal transformation. Expressionism pushed away Realism and instead chose to focu s on the conflicted “inner mind” of the protagonist\, revealing a loss of i ndividuality within society.
It is this loss or struggle for identity that is at the heart of Machinal. A woman is unable to live up to the gender roles imposed on her by a white\, male-dominated\, mechanical society. In this struggle\, we al so see that she is not perfect: she struggles to find exactly how to be fre e. In her self-examination\, a certain “realism” is able to emerge\, while everyone else around her appears merely as robots or mannequins—people who are not quite complete\, and who conform to their expected roles in society simply because it is easier to do so than to do the work of challenging au thority.
There is a hierarchy in Machinal. There are levels of privilege that all the charac ters embody. Even the Young Woman herself enjoys a privilege that is lost o n her. She is a white woman in a white-dominated society\, which is far mor e privileged than any person of colour or a person whose sexual orientation or identities differ. Her sexual orientation is legal and she does not nee d to hide her identity\, whereas someone with a different identity and orie ntation would be jailed or even murdered if anyone knew how they identified . The Young Woman also has access to better jobs\, education\, and healthca re—far more than any person of colour.
I feel that it was this time period that shaped much of the 20th century and continues to have influence now. There are many things tha t can be learned from this time period by looking at what is comparable. Wh en we see contemporary movements such as #MeToo\, #BlackLivesMatter and #Ev eryChildMatters\, along with the audacious movements of Trumpism and the Al t-Right\, can we say much has changed?
Machinal was writt en in 1928\, and I have chosen to keep it in 1928. Given this\, I’d like to acknowledge that there are several references in this play that speak to t he language and attitudes of that particular time period. While normalized then\, such references today would not be considered appropriate. I’d like to thank our cultural consultant\, Omari Newton\, for his assistance in wor king with myself and our cast to determine the most suitable way to mount t his production. Through careful consideration\, we present you with the sho w you are about to see.
—Laura Di Cicco\, Director[/accordion][/accor dions]
[accordions collapsible=true active=false][acc ordion title="Cast"]
Nduduzo Lero y Hikwa — Singer
Ruairi MacDonald — First Man\, Reporter 2\, Singing Voice\, Barber 2\, Janit or
Conor Meadows — Hus band\, Waiter\, Passing Feet\, Clerk 1\, Guard 2
Fiona Jenk ins — Telephone Girl\, Young Woman\, P assing Feet\, Singing Voice\, Clerk 2\, Guard 1\, A Wife
Ro byn Shanks — Mother\, Nurse\, Dancing Couple\, Young Woman\, Passing Feet\, Singing Voice\, Reporter 3
Dylan Nouri — Bellboy\, D octor\, Second Man\, Singing Voice\, Judge\, Priest
Nicolas Olney-Rainville — Adding Clerk\, Danc ing Couple\, Stretcher Wagon\, Older Man\, Passing Feet\, Huckster\, Prosec uting Lawyer
Blake Buksa — Filing Clerk\, Young Doctor\, Boy\, Passing Feet\, Singing Voice\, Bai liff\, Young Woman\, A Husband
Gabrielle Nebrida-Pepin — Stenographer\, Young Girl\, Woman in Whe elchair\, Policeman\, Young Woman\, Singing Voice\, Matron
Belén Quirce — Young Woman\, Dancing C ouple\, Woman in Bathrobe\, Girl\, Passing Feet\, Singing Voice\, Reporter 1
Isabel Hansen — Smal l Boy\, Young Woman\, Passing Feet\, Singing Voice\, Defence Lawyer\, Man a t Table 1
Isabella LaEsecke — Young Boy\, Dancing Couple\, Nurse with Basin\, Passing Feet\, Sing ing Voice\, Young Woman
Mai Stone — Wife\, Dancing Couple\, Extra Man\, Passing Feet\, Young Woma n\, Clerk 3\, Nurse with Tray
Tirion Jones — Young Woman\, A Mother\, Dancing Couple\, Woman Tabl e 1\, Passing Feet\, Singing Voice\, Jailer\, Court Reporter
[ /accordion]
[accordion title="Creative Team"]
Laura Di Cicco — Direction
Megan Gilron — Intimacy Direction
Phay Moores — Intimacy Direction
Omari Newton — Cultural Consultant
Sheila Langston — Vocal Coach
Hallie Marshall — Latin Pronunciation Coach
Allie Cao — Scenic Design< /span>
Zoe Lin — As st. Scenic Design
Isabelle Barlow — Scenic Artist
Mira Robinson strong>— Lighting Design
Olivia Chen — Asst. Projection Design/Asst. Sceni c Design
Kai Wong — Projection Design
Bekah Lazar — Sound Design/Sound Operator
< strong>Zac Labrie — Sound Design
Amber Smith — Costume Design
Jamie Ragins — Asst. Cost ume Design
Elyse Wall — Stage Management
Yuting Yue — Asst. Stage Management
Hann ah Abbott — MFA Technical Direction
David Moise — Asst. Technical Direction
Cassie Gilbert —
[/accordion]
[accordion title="C rew"]
Kelsey Peterson — Run C rew (Fly Op\, Revolve Op)
Ben Paul — Run Crew (Stair Master\, Costume Lead)
Saman tha Cheng — Run Crew
A aron Au — Run Crew
Joy Cheng — Sound Operator
< strong>Emily Chang — Lighting and P rojections Operator
[/accordion]
[accordion tit le="Work Learn Students"]
Hannah Abbott\, Roohi Kamal — Properties
Celeste Mol\, Caroline Tang — Costume
[/accordion]
[accordion title="Production Build & Installati on Crew"]
Olivia Chen\, Crystal Luo\, Jamie Ragins\, Sofie Fougere\,
Grycel Tercero\, Kelsey Peterson\, Kaleigh Funnell\, Emma Hamilton\, Yena L
ee\, David Siu\, Nina Yu\, Saphia Eddie\, Cheyane See\, Kathleen Boldakin\,
Isabelle Barlow\, Finnley O’Brien\, Stephanie Barclay\, Madeleine Polak\,
Betsy Sun\, David Moise\, Cooper Mortimer\, Aaron Au\, Hayley Bamford\, Ben
Paul\, Roohi Kamal\, Brendan Lowe\,
Grace Nguyen\, Yun Shim\, Mattias
Kammueller\, Kai Wong\, Muleba Chailunga\, Joy Cheng\, Nyssa Estrella\, Zo
e Lin\, Hallie Nguyen\, Huda Shawwash
[/accordion]
[accordion t itle="Faculty"]
Stephen Heatley — Department Head
Chelsea Haberlin — Direction
Patrick Rizzotti — Scenic
Brad Powers —
Lorraine West — Scenic Paint
Robert Gardiner — Lighting
Patrick Pennefather — Sound
Jacqueline Firkins — Costume
Collette Berg —
[/accordion]
[accordion title ="Staff"]
Borja Brown — Production Manager
Erika Champion — S taff Technical Direction (Lights and Sound)
Ryan Murcar — Staff Technical Direction (Scenic)
Lynn
Jodi Jacyk — Head of Wardrobe
Tony Koelwyn — Audience Services Ma nager
Andrea Cheng — Communications Specialist
Jiejun Wu — Marketing and Communications Assistant
Sarah Crauder — Film Program Administrator
D mitri Lennikov — Film Col lections Coordinator
Stuart McFarlane — Film Equipment Manager
Ian Patton — Academic Adm inistrator
Karen Tong — Theatre and Film Studies Gra duate Secretary
[/accordion]
[/accordions]
[gallery size="medium" link="file" ids="19095\,19098\,19099\,191 00\,19101\,19102\,19103\,19104\,19105\,19159\,19160\,19161\,19162\,19163\,1 9164\,19165\,19166\,19167"]
Preview
Wednesday\, November 247:30 pm
Performances
Thursday\, November 25
–Saturday\, December 4
7:30 pm
Student Talk Back
Tuesday\, November 30
After the show
No performance o n Monday\, November 29.
Frederic Wood Theatre6354 Crescent Rd\, Vancouver\, BC V6T 1Z2
We acknowledge that the UBC Vancouver campus is situated within the traditional\, ancestral and un ceded territory of the Musqueam.
Adult: $24.50 Senior: $16.50 Student: $11.50
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For any questions\, please contact our box office: 604.822.6835 or box.office@ubc.ca.
LOCATION:Frederic Wood Theatre GEO:49.268047;-123.256976 ORGANIZER;CN="amcheng8":MAILTO:amqv.cheng@gmail.com URL;VALUE=URI:https://theatrefilm.ubc.ca/events/event/machinal/ ATTACH;FMTTYPE=image/jpeg:https://thfl.cms.arts.ubc.ca/wp-content/uploads/sites/21/2021/10/Machinal-featured-image.jpg END:VEVENT BEGIN:VTIMEZONE TZID:America/Vancouver BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 DTSTART:20211107T090000 TZNAME:PST END:STANDARD END:VTIMEZONE END:VCALENDAR