Sloan Tho
mpson[/caption]March 12-28\, 2020\, 7:30 pm.
Shows Wed. – Sa
t.
Frederic Wood Theatre
At UBC Theatre and Film\, our students' and patrons' health and safety is our top priority\, and we are taking gui dance from the University of British Columbia and the BC Ministry of Health seriously in regards to the developing COVID-19 situation.
[cards][c ard title="COVID-19 UPDATE" text="To protect our students\, staff\, and aud ience\, the remainder of Revolt. She Said. Revolt Again. by Alice Birch has been cancelled." link_text="UBC COVID-19" link_url="https://www.u bc.ca/campus-notifications/"][/cards]
If you have tickets for one of the cancelled performances\, please contact our box office to arrange a refund.
We greatl y appreciate your support and understanding at this difficult time and hope that you will join us again next season.
UBC Theatre
Box Office
Hours: 10 am - 4 pm\, Monday to Friday
Phone:
604-822-2678
Email: box.office@ubc.ca
In Person: 6354 Crescent Road\,
Vancouver
Located in the Administration Office on the 2nd
floor
Revolt. She Said. Revolt Again.
Pre
view: March 11.
Opening Night Reception: March 12
Wine/Show pairi
ngs by alumna Barbara Phillip MW at the Gallini’s Bar
SINGLE
TICKETS: Adults: $24.50. Seniors: $16.50. Students: $11.50\, Youth
: $5.
VENUE: Frederic Wood Theatre\, 6354 Crescent Rd
.
BOX OFFICE: 604.822.2678 or box.office@ubc.ca or www.ubctheatretickets.com
WEBSITE: theatrefil
m.ubc.ca
Media Contact: Andrea Rabinovitch. Andrea.rabinovitch@ubc.ca\, Offic
e: 604.822.3723
“Most importantly this play should not be wel
l behaved.”
(Stage Directions)
A non-l inear\, post-modern manifesto\, Revolt. She Said. Revolt Again. by Alice Birch (2014) reacts ferociously to different aspects of lif e as a woman: sex\, marriage\, work\, and family responsibility\, to name a few. Radically critiquing our oppression of the feminine voice and body\, each self-contained episode connects thematically in a feminist voice\, not through tiny steps\, but through a rioting race of deconstructing language \, symbols\, and institutions. In director Sloan Thompson’s able hands\, th e humour juxtaposes the visceral hit of the text\, using our designers’ con siderable talents that transform this amazing play off the page and onto th e Frederic Wood Theatre stage.
* Warning: nudity\ , depictions of violence\, sexual content\, strong language.
** Pleas e note the periods on the name: Revolt. She Said. Revolt Again.
Cast
All are listed as Ensemble: Holly Collis Handford\, Hana Cripton-Inglis\, Karthik K adam\, Aidan LeBlanc\, Pamela Carolina Martinez\, Drew Ogle\, Shannon Poole \, Laura Grace Reynolds\, Ava Maria Safai\, Charmaine Sibanda\, Alain Tahir \, David Volpov
Director Sloan Thompson\; Co stume Design Sherry Yang\; Scenic Design Emily Do tson\; Lighting Design Jacob Wan\; Sound Design Zach Levis\; Stage Manager Evan Ren\; Intim acy Director Phay Moores\; Fight Directors Mike K ovak & Ryan Bolton
March 12 – 28\, 2020\, 7:30 pm
Frederic Wood
Theatre
[caption id="attachment_14877" align="alignleft" width="270"] Sloan Tho
mpson[/caption]
Sloan Thompson is currently pursuing her MFA in Direc ting at the University of British Columbia. Recently\, Sloan directed and p roduced Kayak by Jordan Hall at the Havana Theatre here in Vancouv er (the Echo Collective). Previous UBC directing credits include The Wh ite Liars by Peter Shaffer and Sexaholics by Murray Schisgal.
Before coming to Vancouver\, Sloan lived in Budapest\, Hungary\, whe re she directed and choreographed 17 plays and musicals for DramaWorks\, Lt d. She also played Catherine in Dramaworks’ production of Proof by David Auburn and Eulalie Shinn in The Music Man by Meredith Wilso n (Eso Theatricals). Sloan is a graduate of the University of North Carolin a\, Chapel Hill\, where she received a B.A. in Sociology.
As a direct or with a background in sociology\, Sloan pursues projects in the field of social justice theatre\, with an emphasis on feminist theatre. She believes that by exploring issues of oppression\, gender dynamics\, and power imbal ances through the lens of performance\, societies are able to better unders tand and confront these problems and progress towards a more balanced\, equ itable future. Also\, through her personal directing and casting choices\, Sloan hopes to increase the demographic diversity in all areas of theatre.< /p>
[caption id="attachment_16477" align="alignleft" width="270"]
<
/a> Alice Birch. Photo credit Georgina Ower.[/caption]
Alice Birch (b orn 1986) is an English playwright. She started writing as soon as she coul d write – her first work was a school pantomime with rap lyrics. She later joined the Royal Court's Young Writers Programme\, which aims at encouragin g 18-25 year old people to write for the theatre and benefit from a profess ional production of their plays.
As a young playwright herself\, Alic e experimented with writing for and with young people. One of her early pla ys\, Astronauts (2014) – which is about the housing crisis in Grea t Britain – was co-created with 20 young people aged 16-19 for Company Thre e\, a community theatre in Islington. She also wrote The Lone Pine Club (2015)\, an adaptation of the Lone Pine books by Malcom Savi lle\, a book series about a group of children in the 50s and 60s who could spend most of their time outdoors living adventures without the supervision of adults.
When Alice's first full-length play\, Many Moons (2011)\, hit the stage\, she was barely 24\, still a young person by the U N definition. The play is a series of 4 monologues and explores the differe nt facets of loneliness\, the loneliness that crashes us even in the midst of a crowd. Dysfunctional family relationships are also one of her themes\, from Salt\, a heart-wrenching monologue addressed by a father to his daughter\, through Little Light (2015)\, a family drama and a whodunit that won't release information until the final moments of the show \, to Anatomy of a Suicide (2017)\, which begs a difficult questio n: is the impulse to commit suicide transmitted through DNA?
One of B irch's alleged early influences is Sarah Kane and some aspects of in-yer-fa ce theatre are still present in her plays. She also regularly works with Ka tie Mitchell. Three plays came out of their collaboration: Ophelia's Zi mmer (2015) and Schatten (2016)\, both for the Schaubünhe\, a nd Anatomy of A Suicide (2017) for the Royal Court Theatr e.
Birch has also written the script for Lady MacBeth (2017)\, a screen adaptation of a Russian novella relocated in Northumberland at the end of the 19th century. She actively participates in opening theatre t o other art forms. We Want You to Watch (2015)\, written in collab oration with RashDash\, uses performance and dance\, the twisted contortion s of the body\, to put an end to pornography.
Revolt. Sh e Said. Revolt Again.\, her ultra-feminist shout out\, was en dorsed\, among others\, by Simon Stephens and Mark Ravenhill who called it a landmark. Revolt in a Birch play consists of taking nothing for granted\, in constantly questioning the world we live in\, in destroying everything\ , with the teeny tiny hope that something\, if not better\, at least differ ent\, can still happen. The plays can be called post-dramatic in that they always question the dramatic form itself. Revolt. She Said. Revolt Again. is loud and dialogues overlap\, and yet we hear\; the notions of narrative and characters are deconstructed\, somet imes two scenes are played at exactly the same time\, and yet something hap pens on stage\; sex and body fluids and strong language exude from the actors' bodie s\, and yet they all crave for peace and quiet and connexion. But for all t he noise the plays make\, when language happens\, it is hesitantly assertiv e\, or assertively hesitant. Not so much in a state of infancy as in a stat e of urgency\, when you want to say so much and yet the words won't come ea sily when even silence is potent.
Awards for Lady Macbeth in clude: Nominated Outstanding Debut & Best British Feature BAFTA 2018\, Nomi nated Best International Film Spirit Awards 2018\, Winner 5 British Indepen dent Film Awards 2017 including Best Screenplay\, Winner Discovery Award Eu ropean Film Awards 2017\, Winner International Critic's Prize (FIPRESCI Pri ze) at San Sebastian International Film Festival 2016\, Winner Critic's Cho ice Award for Best First Feature at Zurich Film Festival 2016\, Winner Best Screenplay at Turin Film Festival).
Other Awards include: George Dev ine Award (Revolt. She said. Revolt again.)\; Arts Foundation Awar d for Playwriting. Alice won the Susan Smith Blackburn Prize 2018 with her play Anatomy of a Suicide and was also a finalist in 2015 and 2012 . In 2016\, Alice was selected as one of the Creative England 50\, a shortl ist of individuals and companies judged to be the country’s most inventive\ , innovative and creative minds. In 2015 Alice was nominated for Friedrich Luft Prize.
Alice is currently under commission to Paines Plough\, Th e National Theatre\, The Royal Court\, The Almeida and Clean Break. She is writing an original pilot for Plan B. Her second feature will be an adaptat ion of the Graham Swift novel Mothering Sunday for Number 9 Films and Film 4.
US Representation: Rachel Viola at UTA (American Theatre only) and Geoff Morley at UTA (American Film/TV only).
CV: https://www.unitedagents.co.uk/cv/10156/film_tv_theatre
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[caption id="a
ttachment_16441" align="alignnone" width="300"] Click here to view the "Revolt.
She Said. Revolt Again." production program.[/caption]
For all media requests please c ontact Andrea Rabinovitch
Office: 604-822-3723
Cell: 604-314-3905
Email: a
ndrea.rabinovitch@ubc.ca