Emma Ferreira, Rose Napoli, Helen Taylor, Jamie Robinson and Allan Louis in Much Ado About Nothing, part of Shakespeare in High Park. DAHLIA KATZ
After five successful cohorts, Theatre at York University and Canadian Stage will no longer be accepting applications for the joint MFA Program in Stage Direction and will retire this program with the conclusion of the current student cohort.
Building from this successful program, however, Theatre at York and Canadian Stage are developing a new collaboration that will aim to expand opportunities for experiential education in theatre. This evolution of the partnership will integrate existing programs at York with professional opportunities at Canadian Stage, with particular focus on cultivating talent among emerging BIPOC theatre artists. We look forward to providing professional experiences to York Theatre students in the future.
Beryl Bain (BFA Acting 2005) is currently performing in The Grand Theatre, London’s production of The Mountaintop by Katori Hall to rave reviews.
The play is a fictional account of Dr. Martin Luther King Jr, the famous American civil rights leader, on his last day on Earth before he was assassinated in Memphis on April 4, 1968. In it, she plays an employee of the Lorraine Motel coming to deliver King a cup of coffee, and a series of events that that he definitely didn’t expect! In a flash, the show becomes a roller coaster of hilarious plot twists and turns, set in the tumultuous America of the 1960’s and beyond.
The show has received tremendous response thus far. People who have seen the show routinely stop Beryl in the street in order to offer congratulations and praise. Check out this review in the London Free Press.
The show has also called attention to some of the social issues surrounding the increasingly diverse population of London ON. Unfortunately, my costar and I were subjected to two incidents of racially motivated harassment, which have also received a great deal of attention from both the local and national press.
Not only is the play funny and full of plot twists (there is a BIG surprise in the middle), the ideas are big and very relevant to today.
For more on the show, see the Grand’s website for details. The Mountaintop, directed by Nigel Shawn Williams, who directed Cloud Nine for Theatre @ York this Fall, plays there until Saturday February 27, 2016.
Beryl Bain and E.B. Smith in Katori Hall’s “The Mountaintop”. Photo by Claus Andersen.
Nina Lee Aquino directs students in Theatre@York’s rochdale. – Photo credit: Jeremy Mimnagh, 2018.
On Saturday, March 19, student actors and directors gathered for a closed workshop reading of a new play by Governor General Award-winning playwright David Yee, with directing and dramaturgy support from Dora-award winning artist Nina Lee Aquino.
Yee and Aquino have a long track record of developing new work with university and college students using their “bespoke” method. This innovative approach allows the performers to play characters who are the same or similar in age and to explore individual acting challenges without the additional encumbrance of playing characters in later stages of life. Writing in 2014, Yee asserts that “by tailoring the play to them, they [university actors] would work harder to address the challenges and obstacles of their roles because they would have a personal stake in them.” In 2018, the Department of Theatre produced Yee’s play rochdale in a world-premiere production directed by Aquino. The production was a rousing hit and the student company later remounted the play for a sold out run at the SummerWorks Festival in August 2019, with Yee and Aquino’s full involvement.
David Yee watches rehearsals for Theatre@York’s rochdale. – Photo credit: Jeremy Mimnagh, 2018.
Given the wonderful success of our previous experience with Yee and Aquino -both artistically and pedagogically – we are excited to bring them back to York in 2022. Yee’s new play will premiere as part of the Department’s 2022-23 Theatre@York season.
Many thanks to the Wuchien Michael Than Foundation for a Phase One Development Grant to support this project.
From November 23rd-27th, 2021, Theatre@York presented Christopher Chen’s The Late Wedding, directed by Jamie Robinson, performed by the 4th year BFA Acting Conservatory, and designed, built, and produced by the students of Theatre Production & Design and the first-year Introduction to Stagecraft class.
Director Jamie Robinson (Top Left) with the cast and creative team of “The Late Wedding”.Trinity Lloyd in “The Late Wedding”.
The Late Wedding was produced in person to be livestreamed online for 10 stellar performances. The Joseph G. Green Studio Theatre was converted to a video soundstage with a Set Design by Wasifa Noshin and a move to live camera work covering every corner of the theatre and then some as the scenes expanded to ancillary spaces.
From the Chair of the Department of Theatre, Marlis Schweitzer: “After a long year away from our ‘in person’ performance spaces, we’re thrilled to be back working in the Joseph G. Green Studio Theatre in the Centre for Film & Theatre, producing Chen’s playful riff on Italo Calvino’s post-modern storytelling. And it’s a historic moment for us!! The Late Wedding marks the first time in our department’s history that a mainstage production has been fully conceptualized for livestreamed presentation.
Eliza Smith (foreground left) and Johnny Thirakul (foreground right) with the cast of “The Late Wedding”
Like all our productions, The Late Wedding was designed, produced, and realized by a group of incredibly talented undergraduate Theatre students; and features a wonderful cast of 16 actors from the BFA program in Acting. Of course, none of this would be possible without the unwavering support of our faculty and staff, who bring their skill, professionalism, and love of theatre into the classroom every day – whether teaching remotely or in person.”
Jordan Jerry Kuper in “The Late Wedding”.
““Director” is a term I am wary of,” said Director and Assistant Professor in Acting & Directing, Jamie Robinson. “It takes much more than just a director to make any production possible, as you can see from the list of incredibly talented students, faculty and staff who tirelessly plunged into the depths of these thrilling new waters with me. From choosing the play itself, to discovering what this World might be about, to piecing together the marriage of live and streamed performance, it truly was a collaborative endeavour to get to this point, and we were never late for the party!
As Theatre finally begins to thaw from its months of indefinite closures, I have faith that you will embrace this new frontier of digital theatre. You will begin to understand how we are reaching a larger audience, while maintaining your love of experiencing it live. You will become the future of our medium and your relationship with us here and now will determine our fate.”
Happy Closing to the cast and crew of The Late Wedding. While the production was only livestreamed with no extant recording, you can still see the full digital program of the production here:
How do you teach and produce theatre in a pandemic? The York University Department of Theatre explored various models this year as we worked remotely, collaboratively, and eventually, in person.
“The Antigone Play” by Tabia Lau, directed by David Jansen and produced digitally to stream. Clockwise from top-left: Jiafan “Felix Hao, Mya Hastings, and Tamara Mobarak
We realised many of our productions virtually, adapting plays or commissioning new plays, which we produced in either a live or pre-recorded digital streaming environment. New tools brought new growing pains and new opportunities. Technicians, actors, directors, designers, dramaturgs, managers, and Faculty(!), developed new digital and technical skills to carry them through these unexpected adventures. We couldn’t be prouder of what came of it! Even when we returned to our shops and spaces in the Winter to realise some of these designs in person, we found that it was the stories that we told and built together that got us through.
Like everyone in the world, we adapted as we built the new virtual world we were living in, and even in a time of crisis, discovered innovative and dynamic ways of sharing a very human and personal act: telling a story.
We hope you enjoy browsing our short glimpse into Theatre@York’s Year in Review for 2020/21 and a peek at what’s to come in 2021/22.
(Re)Setting the Stage: The Past, Present, and Future of Casting Practices in Canada
Organized by York University Professors Jamie Robinson and Marlis Schweitzer with support from Ph.D. graduate student Marilo Nuñez and undergraduate students Dante Jemmott, Cassandra Henry, and Zoe Marin, professional theatre directors, playwrights, actors, educators, and students from across Canada joined together for a series of Zoom panel discussions organized across 2 days in May and June 2021.
(Re)Setting the Stage: The Past, Present, and Future of Casting Practices in Canada responds to the urgent need to address systemic racism in Canadian theatre.
The event was a response call for greater transparency and accountability in creative practices, including (but not limited to) casting decisions and play selection within the Canadian theatre industry. The aim was to bring together professional artists to reflect on the harmful legacy of casting practices and to build towards a better, more equitable, future.
There were three panels over two days, and you can still watch two of these brilliant panels at the links below. (The third panel was not recorded by request):
Legacies of Historical Casting Practices with panelists Carmen Aguirre, Walter Borden, Jani Lauzon, Beatriz Pizano, and Kim Rampersad Embracing More Inclusive/Diverse Practices with panelists Niña Lee Aquino, Kevin Hanchard, Marilo Nuñez, and David Yee Future Opportunities for Innovation & Connection with panelists Tara Beagan, Augusto Bitter, Marjorie Chan, Emma Ferreira, and Mike Payette
Please keep an eye on our News and Events pages for further updates as the project unfolds.
Jamie Robinson is the newest addition to the Full-Time Faculty in the Acting Area of the Department of Theatre. We’re pleased to introduce him to our community! Welcome Jamie!
1. Who are you?
I am Jamie Robinson, he/him. Born and raised in Toronto’s west end, I am of mixed Caribbean and European ancestry with Black diaspora roots in several West African Tribes and Nations. I’ve been a professional artist for over twenty-three years as an actor of theatre, film and television, a director of both contemporary and classical works and an educator to hundreds of post-secondary emerging artists. These days, I’ve had plenty of time to reflect on and acknowledge the extraordinary privilege we all have: telling our stories and communicating globally through on-screen interactions, where technological materials and systems that are built and maintained are by the use of numerous diverse indiginous lands. I am a true believer in the collective creation process and instill values of collaboration and ensemble work into every production or studio class I am in. Now more than ever, we need everyone to be part of a team, and I hope my experience as a team player will fuel the next several generations of artists to be as respectful, daring and compassionate as I’ve learned to be. Teaching is a two-way highway, and I make it my mission to never stop learning from every lane I encounter.
2. Tell us about a creative or research project (or two) that you have been immersed in recently.
My entire body of work has been dedicated to the inclusion of diverse voices in the arts and this will continue to be my number one research focus in the future. In light of recent events, transitioning the work online will be an added challenge that I welcome as part of this initiative, and am excited by the opportunity to shake up our old ways of doing art. I am always interested in stories that punch holes in ideas about what is right and what is wrong, and then forces us to look at everything in between. The stories I’ve worked on that demand this sort of reflection often revolve around a significant period in history or about a specific cultural event, always with some kind of major conflict, not unlike the world we live in today. One such project that I have been immersed in the last couple of years, and am slated to direct, is a new Theatre play that checks off all these boxes, dealing with a time, place and culture that I was very unfamiliar with before. Though I am not at liberty to expand in much further detail at this time, I can say that it will be exactly what the global Theatre community will need after the “new normal” begins, as this story is set in an era where cultural norms were being torn apart everywhere. I’ll keep you curious about that for now, as curiosity is one of the cornerstones of the artistic craft, is it not 😉
Jamie directed Tarragon Theatre’s original production of Jason Sherman’s Copy That, featuring York alumni Emma Ferriera and Tony Ofori.
3. What production or artist or scholar has had the most impact on you over the course of your career?
Without a doubt, Obsidian Theatre’s production of Djanet Sears’ Adventures of a Black Girl in Search of God has had the single most impact upon my career. It launched Toronto’s Black theatre company onto the scene at a time when I was craving to understand my own place as an artist within the Black community. That show taught me about true diversity, ensemble work, theatre design in every respect, and how I too wanted the world to see Black artists and our stories. Shortly after that production, I had the great pleasure of meeting and working alongside one of the lead actors in the show, Sir Walter Borden, a prominent Black activist actor and educator from Nova Scotia who continues to be a close friend and mentor to this day.
Jamie’s Dora-winning role for Young People’s Theatre original production of Risky Phil, by Paula Wing.
4. Is there an image or a quotation that inspires you?
I’ve learned that people will forget what you said,
people will forget what you did,
but people will never forget how you made them feel.
Theatre Devising Starter Kit: Tools to Create from Scratch
July 20-31, 1:00 pm. EST, Monday, Wednesday, Friday
The “Theatre Devising Starter Kit” will offer a series of FREE online lessons, workshop activities, collaborative opportunities, and feedback sessions for high school students interested in learning how to devise original theatre pieces from scratch. This 2 week, six session online course is aimed at students in grade 11-12 or 1st/2nd year post-secondary students interested in creating their own performance based work from scratch. Student will learn new lessons/activities each day led by professional artist educators, Aaron Jan, Lucy Powis, Luke Reece, & Autumn Smith. See full bios below.
Aaron Jan is a Hamilton-born playwright, director and dramaturg. He has worked as a creator with Factory Theatre, Canadian Stage, Native Earth Performing Arts, Theatre Aquarius, Cahoots, fu-GEN Asian Canadian Theatre, the Stratford Festival and the Next Stage Theatre Festival. Aaron is a member of the critically acclaimed, Silk Bath Collective, whose production of Yellow Rabbit enjoyed a sold-out run as a part of Soulpepper’s 2018/2019 season. Aaron is the 2019 winner of the Ken McDougall directing award and has served as TAC theatre projects juror, a TAC Arts in Parks juror, an RGTC Juror with Cahoots theatre as well as an OAC Chalmers Fellowship Juror.
Aaron Jan
Lucy Powis
Lucy Powis graduated from York University’s theatre program with specializations in devised theatre and dramaturgy. While living in Toronto, she worked in Soulpepper Theatre Company’s education department and on productions with Theatre Asylum, Theatre Aquarius, Buddies in Bad Times, Little Black Afro, Then They Fight, SummerWorks Performance Festival, and the Hamilton and Toronto Fringe Festivals. She moved to New York City to pursue her MFA in Dramaturgy at Columbia University and now lives there, working in the literary division at A3 Artists Agency and as a freelance dramaturg and producer. She previously held seasonal positions in the artistic/literary departments at Roundabout Theatre Company, Williamstown Theatre Festival, and Lincoln Center for the Performing Arts. www.lucypowis.com
Lucy Powys
Autumn Smith
Autumn Smith is a director, artist educator and consultant. She is the current Artistic and Executive Director of Littlewoodsmith, a theatre company that brings quality theatre performance and education to the Muskoka Region. Autumn holds an MFA from York University in Theatre Direction with an Emphasis on Teaching and is a conservatory trained actor (Oxford School of Drama/UK). Ms. Smith is a member of the Faculty at AMPD (York University) Centennial College and University of Toronto. As a director and educator Ms. Smith led the Dora Award winning company MacKenzieRo for over a 9 year period in addition to working with companies such as: The Shaw Festival, The Tarragon Theatre, Stratford Festival, National Ballet, Theatre Passe Muraille, The Paprika Festival, George Brown Theatre School, Stagedoor Manor in Association with the American Theatre Wing, StageWest Mississauga, Theatre 20, The Druid Theatre/Galway and the Oxford Playhouse/UK. Most recently, Autumn curated and directed Territorial Tales for Canadian Stage, Oh, What A Lovely War! for Hart House Theatre and is set to direct and choreograph Citronella for the Gravenhurst Opera House 2021 season. Autumn also has a musical theatre podcast that she co-hosts called Before the Downbeat.
Autumn Smith
Luke Reece
In a failed attempt to escape Presto, Luke Reece left his hometown of Mississauga under the guise of becoming a Toronto-based artist. He is a theatre producer, playwright, spoken word poet, and arts educator. He is the Producer for Canada’s leading culturally specific theatre company, Obsidian Theatre, and a Member of the Toronto Poetry Project. He continually seeks opportunities to empower and support young-in-craft artists with his collective Little Black Afro Theatre, creating spaces for artists to develop work with and for the communities they come from. Through his work as an artistic leader within the national arts community, he advocates for engaging and nuanced storytelling that challenges Canadian audiences. Luke is one of Toronto’s most decorated slam poets, becoming the Toronto Poetry Slam (TPS) Grand Champion in 2017, winning the Canadian Festival of Spoken Word as the captain of the TPS team and then again in 2018 as the team coach. In 2018 he placed 2nd in Canada individually which earned him a spot representing the country at the 2019 World Cup of Poetry Slam in Paris France where he placed 4th. Most recently Luke has been featured performing for Toronto Raptor and NBA Champion Serge Ibaka on his Instagram Talent Show.
Statement in Solidarity with Black students, faculty, staff, & community members
Dear YorkU Theatre community,
Statement from the Department of Theatre, the MA/PhD Program in Theatre and Performance Studies and the MFA Program in Theatre at York University in Solidarity with Black students, faculty, staff, and community members
The Department of Theatre, the MA/PhD Program in Theatre and Performance Studies and the MFA Program in Theatre are deeply concerned about the ongoing racism and violence committed against Black people in both the United States and Canada. We are appalled by the recent brutal killings of George Floyd, Breonna Taylor and Tony McDade in the US, and by the tragic circumstances surrounding the death of Regis Korchinski-Paquet in Canada. We recognize that these horrendous acts of violence are manifestations of systemic discrimination and exploitation that Black people, racialized people and Indigenous people experience on a daily basis in Canada, the US and around the world.
These recent events have caused unspeakable pain, sorrow and grief for Black communities across Canada and the US. We stand in solidarity with our Black, racialized and Indigenous students, colleagues, and community members outside of the academy in demanding justice and equality in our society.
We also are deeply committed to values of equity, inclusion and diversity in our own department and graduate programs. We recognize that anti-racist work begins with identifying and dismantling white privilege and the ideas, structures and processes that maintain it.
We are committed to ensuring that an anti-racist agenda is reflected in our departmental and program activities and curriculum. We have developed a number of current initiatives in response to our ongoing dialogue with students(please see here for more).For immediate support, we encourage our students to access York University’s resources offered through its Centre for Human Rights, Equity, and Inclusion and Student Counselling & Development. For more information on how you can support Black organizations in Toronto, see here.
We are ready to listen, reflect, learn and act to challenge racism in and through the work we do as academics, artists, pedagogues and members of society. First and foremost, however, we are here to support our Black, racialized and Indigenous students and continue to build together a community that treats everyone with respect and dignity. Transparency and accountability are our top priorities in creating a more just academy and society.
Yours in solidarity,
Marlis Schweitzer, Chair, Department of Theatre
Magdalena Kazubowski-Houston, Graduate Program Director, Graduate Program in Theatre & Performance Studies (MA/PhD)
Gwenyth Dobie, Graduate Program Director, Graduate Program in Theatre (MFA)
I am a creator, director, mover, teacher, mentor, student, sister, partner, mother.
With my life and creative partner William Mackwood, we formed Out of the Box Productions in the fall of 2003… where we ponder the agency of humanity in an increasingly digitally mediatized existence. Further, we believe that by combining movement, music and text in unique multidisciplinary works, and presenting in more intimate venues, we have created a powerful way to connect as humans.
In our most recent creations, Is That You?, Chromesthesia, Disrupting Solitude and Rallentando, we have explored diverse methodologies of immersive, digital interactivity; while investigating the ecological and social influence of a natural setting on the creative process.
Rallentando—Hub14, Toronto
2. Tell us about a creative or research project that you have been immersed in recently.
Is that You? (Affectionally called ITY?) was a physical theatre piece that we created for The Incubator Projects in the Dance Department at York University this past winter. The idea was hatched during the first few months of my sabbatical as I researched the effects of corrective surgery and The Secret Language of Doctors by emergency room physician Dr. Brian Goldman. I then researched the long-term implications of Cosmetic and Plastic surgery and complications and risks of Orthopaedic Surgery.
From this research, I based ITY? on the worst fears and nightmares of doctors, hospitals and surgeries, utilizing hyper stylized grotesque gesture. The three dancers I worked with from the York Dance Ensemble (Dr Lee) Sadie Cahill, (Dr. Smith) Bridget D’Orsogna and (Grandma Marg Hansen) Taylor Zeller were very brave and wonderfully creative collaborators. We investigated interactive technology; having them control the sound effects from an iPad they used which was integrated into the choreography, as they moved through the piece.
Most of the video content was manipulated and controlled through the use of Vuo and Qlab. Toy Chainsaws were used to replace body parts (with an overhead video feed, we had digital blood flying everywhere!) and finally a drill was taken to Grandma’s head—while we watched her memories floated away, leaving her unsure of who she was after all the interventions.
While I wished to create a dark comedy with the broadest “Monty Python-esque” style … with Covid-19 hitting us all very hard, it was a trying time to be creating such a piece! We did get one chance to share, before everything was closed down and received some excellent feedback. However, the macabre nature of ITY? seemed “off” with regards to the heroic nature of our outstanding medical community in these unprecedented times.
As they say… timing is everything.
Is That You? (2020)
3. What production or artist or scholar has had the most impact on you over the course of your career?
Ah… there are so many! When creating the new Physical Aspects of Theatre Course, I was able to assemble video viewings of some of my favorite companies. Netherlands Dance Theatre, Crystal Pite, Hofesh Shechter, Batsheva Dance Company, Punchdrunk Theatre Company, Third Rail Projects and of course the one and only Pina Bausch.
As a deaf artist, I most connect with immersive physical theatre. With the intimacy and immediacy of this form, I am able to feel the piece on a visceral level. With my Devised Theatre colleagues Ian Garrett and Laura Levin, I was thrilled to take many Devised Theatre Students to see Sleep No More in New York City (along with many other fantastic shows!)
4. Is there an image or a quotation that inspires you?
I often share this with my students, when they are deep in the creative and learning process; when they are ONLY seeing obstacles, darkness… with no way through the forest:
There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. … No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others. —Martha Graham
5. What are some of the projects you undertook during your sabbatical?
During my 6 month Sabbatical, I was able to fully invest in the largest creation project of my life; the creation of an Artist Residency, situated on Salt Spring Island, Canada.
For the past three years, I have been researching the effects of a restorative natural setting, or the removal of interruptions that consume excessive cognitive resources on the creative process. With the assistance of a SSHRC Research Opportunity Grant “Canadian Spaces for Innovation and Creation: fostering expansive thinking through natural settings”, my partner William Mackwood and I were able to attend the Res Artis conference in Rovaniemi, Lapland. Res Artis is an International Association of Artist Residencies of which we are members. https://resartis.org/
We then made site visits to two outstanding artist residencies situated in natural surroundings.
1. The Ross Creek Centre for the Arts: a multi-disciplinary arts residencies and education centre based in rural Nova Scotia. The Ross Creek Centre for the Arts is a research and development centre for the arts of all disciplines and cultures, and is proud to help facilitate the development of new art from around the world in wonderful facilities on a spectacular farm in rural Nova Scotia. http://www.artscentre.ca/
2. Fogo Island Arts: off the coast of Newfoundland, is a residency-based contemporary art venue, providing support for artistic exploration and production for artists, filmmakers, writers, musicians, curators, designers, and thinkers from around the world. The location descriptors include: the drama of its Atlantic Ocean backdrop, a brilliant night sky, panoramic views of the ocean. https://www.fogoislandarts.ca/programs/residencies/
In May 2019, we began the construction of the Woodland Farm Artist Residency. Situated on Canada’s beautiful west coast, within the territories of the Coast Salish peoples, it is a sanctuary to breathe, dream, experiment, create and play.
I spent all summer and fall continuing to research Artist Residencies, manage, assist, and help construct this new and special space.
Beginning in Spring 2021, Artists in Residency will have 24/hr access to the Creation Barn. The space is approx. 860sqft (83sq Meters) in a completely newly built space with soaring 19ft (6 Meters) gabled ceilings and sprung floors.
The barn includes a conference table, open space with plenty of natural light. William Mackwood has received a grant to buy sound, lighting and Video equipment. In addition, as creators with design and development experience, we will available for feedback and consultation … upon request.
“Patterns observable in nature and society allows us to not only make sense of what we see, but to use a pattern
from one context and scale, to design in another” — Essence of Permaculture, David Holmgren
Drywalling above and below the Catwalk
8. How will you integrate what you learned/discovered during your sabbatical into your teaching?
I hope that what I have learned and discovered in the research, development and creation of this Artist Residencies will provide enormous opportunities to my undergraduate, graduate students and colleagues at York. This sanctuary will provide time and space to develop new works- supporting innovative design ideas, testing of music, movement and text ideas… pondering the effects of nature on art. All while residing in a place of beauty and peace.
If you want to learn more about the Artist Residency—and apply to come here—check out our website www.outoftheboxproductions.ca
The Woodland Farm Artist Residency close to completion
Beryl Bain (BFA Acting 2005) is currently performing in The Grand Theatre, London’s production of The Mountaintop by Katori Hall to rave reviews.
The “Theatre Devising Starter Kit” will offer a series of FREE online lessons, workshop activities, collaborative opportunities, and feedback sessions for high school students interested in learning how to devise original theatre pieces from scratch. This 2 week, six session online course is aimed at students in grade 11-12 or 1st/2nd year post-secondary students interested in creating their own performance based work from scratch. Student will learn new lessons/activities each day led by professional artist educators, Aaron Jan, Lucy Powis, Luke Reece, & Autumn Smith. See full bios below.
