Every year, the University of Toronto Drama Coalition hosts its annual Drama Festival. This is an entirely student-run event; each college from the St. George Campus and groups from the Mississauga and Scarborough campuses are eligible to submit a play written and performed by students. This year—marking the 80th anniversary of the original competition—the festival ran from Wednesday February 10 to Saturday February 13.
Thursday Night: Krystal Naval
On the second night of the Drama Festival I saw the WINDS production Our Cake to Eat and UC Follies’ Saltwater Forests and What She Said, the latter of which was in conjunction with Twenty-Two Troubles Theatre. Having never been to a night of the UofT Drama Festival prior, I wasn’t sure what to expect. However, after leaving the Thursday night showcase, I found myself already making plans to attend again next year.
Our Cake To Eat explored the politics of gender and power through the dynamics of the fictional Kingdoms of Mukhasa and Wangpapi. The Queen (Sashi Khanna), and Zalika (Antonia Mappin-Kasirer) were perfect examples of strong female leadership and resistance, in relation to the patriarchal dominated kingdoms. It was clear from Mappin-Kasirer’s first appearance on stage that she would touch the audience with her performance. The most powerful moment of the production was when her character Zalika was called offstage and the only sound the audience could hear were the screams of the child Mappin-Kasirer being whipped by her mother.
Saltwater Forests had the audience captivated with laughter and tears, examining death and the management of grief. It cleverly reminded the audience, through the characters of Corduroy (Dorcas Chiu) and Calamine (Joanna Decc), that the process of grief is individual and the ignorance of loss does not equal the preservation of what is lost. The chemistry between Chiu and Decc was off the charts and while the lack of physical similarity was apparent—and noted within the play itself—their performance as sisters felt genuine nonetheless.
The abstract play What She Said used the fluidity of dance, headphones, and a collection of boxes to examine the insights and stories of various women. The performance primary storyline of a teenaged girl recalling an incident of sexual assault was balanced with interjections of the inner-most thoughts of other women separate from the main storyline. The content was simultaneously heavy and light, but powerful all the same.
I would encourage everyone to attend future installments of the UofT Drama Festival. There is nothing greater than supporting quality student work and, more than that, learning from the experience at the same time.
Friday Night: Molly Kay
Friday evening featured three distinct productions: Victoria College Drama Society’s Useless Superhero Support Group, St. Michael’s College Troubadour’s Eternal Return, and UTM Drama Club’s Letting Go.
Leading off, Useless Superhero Support Group was an entirely unique experience. The play centered around a group of six superheroes doomed with “useless” superpowers such as mind-control over the right arm only, rapid regeneration in just the left leg, and the ability to read through paper (and sometimes thin cardboard). Collected in a support group, they were prompted to discuss the moment they hit “rock-bottom.” But shortly thereafter, all hell broke loose in an eruption of impulse and paranoia. The use of the minimalist set and costumes put emphasis on strong performances. Further, the show was structured in a way so its clever jokes flowed naturally between characters. Its charm and creative nature served as an example of refreshing student theatre.
The second show, Eternal Return, happened to be the only other comedy of the festival. However, its approach to the genre was vastly different. This play relied heavily on philosophical homages to influential figures such as Freud and Nietzsche, as well as its topical humour and complex set. Moreover, it strived to promote themes of inclusivity, diversity, and acceptance, although due to time constraints it was difficult to cover all of these important issues and ideas in under an hour. Regardless, Eternal Return was bold and addressed relevant social concerns.
Lastly, Letting Go followed a girl’s journey to redemption and self-acceptance as she comes to terms with her father’s abandonment years before. Recounted through personal diary entries, the play showcased the inner workings of her mind as she struggled with memories of abuse and insecurities. The show personified her anxieties and self-doubt, allowing the audience to connect with her character on a more personal level. Ultimately, the play resolved with its protagonist able to attain self-love through personal growth and release.
Despite only being able to attend a few of the productions in this year’s Drama Festival, I believe this experience really highlighted the importance of student theatre as an essential creative outlet with potential to connect the entire University of Toronto student body.
