David Rotenberg

BA (Toronto), MFA (Yale)

Professor Emeritus

David Rotenberg has founded two theatre companies and directed extensively throughout Canada and the United States. His directing credits include two Broadway shows — The News and 1940’s Radio Hours — and half a dozen Canadian premieres. As visiting artist at the Shanghai Theatre Academy in 1994, he directed the first Canadian play ever to be produced in translation in China with a Chinese cast and creative team: George Ryga’s drama The Ecstasy of Rita Joe.

David Rotenberg’s visit to China set the stage for his critically-acclaimed first novel, the thriller The Shanghai Murders: A Mystery of Love and Ivory (1998), followed by four more in his mystery series:The Lake Ching Murders (2002), The Hua Shan Hospital Murders (shortlisted for the Arthur Ellis Award for best crime novel of 2003), The Hamlet Murders�(2004) and The Golden Mountain Murders (2005). His most recent book is Shanghai, a critically-acclaimed historical novel about the Chinese metropolis.

David Rotenberg’s work in film and television includes serving as acting coach for My Secret Identityand Friday the 13th and private acting coach for The New Kung Fu on CBS. He edited and directedMissing Treasures for Global Television and has written the ‘bible for the tv shows … and Smell the Coffee for Sunrise Productions and Gateway for Don Kurt Productions. Five of his film scripts have been optioned by film companies. He serves as artistic director of Professional Actors Lab in Toronto.

Personal website

Robert Fothergill

BA (Cambridge), MA (McMaster), PhilM, PhD (Toronto)

Robert Fothergill
Professor Emeritus

Playwriting, Theatre History, Theatre Criticism

Professor Fothergill is a playwright, critic and theatre historian. His drama,Detaining Mr. Trotsky, about the internment of Leon Trotsky in a prison camp in Nova Scotia in April 1917(Canadian Stage Company, Toronto, 1987), won a Chalmers Award and several Dora nominations.

Public Lies (Tarragon Theatre, Toronto, 1993), also nominated for a Chalmers Award, addresses issues of truth, propaganda and media manipulation by dramatizing episodes in the Canadian career of John Grierson, documentary film pioneer and founder of the NFB.

Borderline, set in a refugee camp on the border of Rwanda and Tanzania, won second prize in the 1999 Herman Voaden Canadian Playwriting contest and was professionally workshopped under the direction of Bill Glassco. It was mounted at Toronto’s SummerWorks theatre festival in 2004.

Rob Fothergill’s most recent play is The Dershowitz Protocol, an examination of the ethics of torture in the context of the current ‘war against terror’. The Dershowitz Protocol was presented at the SummerWorks festival in 2003 and received its U.S. premiere at the Downstairs Cabaret Theatre in Rochester, New York, in June 2006.

Other writings include Private Chronicles (Oxford 1974), a critical study of English diaries, and a chapter on Radio and TV Drama in Volume 4 of the Literary History of Canada (University of Toronto Press, 1990).

Teaching dramatic literature and criticism, Professor Fothergill was a long-time member of the English Department at York University’s Atkinson College before joining the Department of Theatre in the Faculty of Fine Arts 1994. He served as Chair of the Theatre Department from 1994 to 1999.

Jill Courtney

BA (Butler)

Professor Emeritus

Jill Courtney began her professional career as a classical dancer with companies in Chicago, New York and Washington D.C. and in Montreal with Les Grands Ballets Canadiens. She then made the transition to movement, mime and non-verbal communications in theatre as a teacher and coach for actors.

A graduate of the Gestalt Institute of Cleveland’s postgraduate program, Professor Courtney is a certified practitioner of Zero Balancing – the aligning of body energy with body structure. Her research focuses on the therapeutic benefits of energy flow and energy balancing in the body, the uses of the universal mask, Gestalt Therapy, and their applications in the arts and how the performer can connect and utilize these processes in character development for performance.

Douglas Buck

BFA (Carnegie Institute)

Professor Emeritus

Professor Buck has worked extensively in arts administration and development in both the public and private sectors. He served as development coordinator for the Shaw Festival and managed several performing arts facilities and theatre companies. At York, he was for many years manager of the University’s Performing Arts Series. He also managed a professional wind quintet and served as theatre design consultant for the Leah Posluns Theatre in Toronto and the Oakville Centre.

Keith Bradley

BFA (York)

Professor Emeritus

Professor Bradley taught extensively in the areas of theatre production and stage management at York.

David Bentley Boice

B.A. (Guelph), M.A. (Illinois)

Professor Emeritus

Professor Boice is a costume historian, designer and cutter, and a collector of period costumes. He developed the curriculum for the study of costume in York’s Theatre Department, and established the costume archive used in Theatre @ York productions. His professional credits include costume design for the National Ballet of Canada, Stratford Festival and the Toronto production of Phantom of the Opera. He is currently working on a book: The Cut and Construction of Women’s Costume for the Stage ca 1500-1790.

Belarie Hyman Zatzman

MA, Drama Centre, University of Toronto / PhD, OISE/UT

Belarie Zatzman
Associate Professor

Theatre Studies

Belarie Zatzman’s research focuses on issues of history, identity, and memory in Drama and Arts Education. She specializes in exploring Holocaust Education through the Fine Arts. In addition, Zatzman teaches Theatre for Young Audiences, with a special focus on the Canadian context, and has written and edited study guides for professional theatre companies. She has been invited to conduct workshops and presentations across Canada and abroad, in such venues as Young People’s Theatre; Stratford Festival of Canada; Toronto District Board of Education; Sarah and Chaim Neuberger Holocaust Education Centre of Toronto; Facing History and Ourselves Canada; Council of Ontario Drama and Dance Educators; American Association of Theatre in Education; British National Drama; International Drama Education Research Institute; and the International Drama EducationAssociation. Zatzman’s publications include: “Difficult Knowledge in Theatre for Young Audiences: Remembering and Representing the Holocaust” in Theatre and Learning (2015); “The Poetry of Terezin” in Voices into Action (2014); “Drama Education and Memory” in Key Concepts in Theatre/Drama Education (2011); “Fifty-one Suitcases: Traces of Hana Brady and the Terezin Children” in Canadian Theatre Review (2008); and “The Monologue Project: Drama as a Form of Witnessing” in How Theatre Educates (2003).


Selected Publications:

“The Monologue Project: Drama as a Form of Witnessing” in Booth and Gallagher, eds. How Theatre Educates, University of Toronto Press (in press)

“Mapping Distance: Contemporary Responses to Holocaust Education through the Fine Arts” in Lerner, L., ed. Afterimage: Evocations of the Holocaust in Contemporary Canadian Arts and Literature, Concordia University, 2002

“Sign Language” in Creating a Theatre in Your Classroom and Community in Warren, B., ed. Toronto: Captus University Press, 3rd Edition, 2002

“Drama Activities and the Study of the Holocaust” in Teaching and Studying the Holocaust, Totten, S., & Feinberg, S., eds. Boston: Allyn and Bacon, 2001

“Holocaust Stories” in Booth, D. and Neelands, J., eds. Writing in Role. Hamilton: Caliburn Publishers, 1998.

Mark Wilson

Playhouse Acting School, MFA (York)

Mark Wilson
Associate Professor


Professor Wilson began his professional theatre career as an actor, and has extensive performance credits in theatres across Canada, including productions with the National Arts Centre, Canadian Stage Theatre, Workshop West (Edmonton), Theatre New Brunswick, the Globe Theatre (Regina), and the Vancouver Playhouse. Most recently, he appeared in little tongues (the blood projects at The Toronto Fringe). His directing credits include Robert Fothergill’s Disciples (Summerworks), Cabaret (Toronto Youth Theatre), Mister Invisible (Resource Centre for the Arts, St. John’s), Caribou Song (Red Sky Performance), Romeo & Juliet (Theatre By The Bay), The Threepenny Opera (George Brown Theatre School), Road (George Brown Theatre School/Equity Showcase Theatre), and The Snow Queen (Canadian Children’s Opera Chorus). He received a Canadian Comedy Award nomination for best direction for That Dorothy Parker at the Berkeley Street Theatre. He has also taught at the American Community Schools of Athens Summer Institute (Greece), George Brown Theatre School, Equity Showcase, and the Randolph Academy for the Performing Arts, and has been an adjudicator with the Sears Ontario Drama Festival. Professor Wilson was Associate Dean, Academic, for the Faculty of Fine Arts, from 2009-2012. He is currently a juror for the Dora Mavor Moore Awards (General Theatre) in Toronto.

Ross Stuart

BFA (Alberta), MFA (Carnegie-Mellon), PhD (Toronto)

Ross Stuart
Associate Professor

Theatre Studies

Professor Stuart, founding Associate Editor of the Canadian Theatre Review, has published extensively on Canadian Theatre, most recently in “Establishing Our Boundaries:  English-Canadian Theatre Criticism”, and has special expertise in summer theatre in general and the Stratford Festival in particular.  He has served as Associate Dean, Fine Arts and Chair of Theatre.  An experienced adjudicator, workshop leader and director, his current research interest involves using improvisation to explore non-dramatic material and revitalize classic texts, and in developing material suitable for performance in schools.