By Tendisai Cromwell
As part of this year’s Summerworks Theatre Festival, Dancing to a White Boy Song is promising to be a unique theatrical experience.
Exploring the personal stories of three African immigrants, the title is a metaphor for an immigrant living in a Western culture. The narratives will unfold in a multidisciplinary fashion employing poetry, dance, and visual imagery.
In examining the overarching theme of ‘otherness’, the play will also explore family dynamics, intergenerational tensions, work, race, and address the notion of home.
The inspiration for the play lies in the immigrant experiences of Kenyan-born Director and Co-Creator Mumbi Tindyebwa Otu.
“It came from a very personal place, ”Otu revealed. “I immigrated here as a teenager with my family and I had a very rough transition.”
From the beginning, the play was a collaborative process involving sharing personal immigrant stories and experiences of otherness from everyone involved in the creation process. To actualize her aspirations, Otu collaborated with playwright and local poet, Motion and choreographer, Meryem Alaoui.
“She hears poetry as the voices of the characters,” Motion said of Otu’s vision. “It’s a play that brings out different voices, rhythms, cadences, stories.”
The trio has been working since this past May to reflect the complexities of human expression in the play.
“It’s an exploration of how we express ourselves as human beings. We express ourselves through movement, through sound, sometimes through visual imagery, ”Otu said.
The final production will be inclusive of many aspects of various immigrant narratives and though the play explores African immigration, it also deals with many universal sub-themes and a wide range of shared human emotions.
“When we become personal, we can see how universal our experiences can be,” Motion said. “Every single one of us has had moments of insecurity. All of us have had those generational gaps that take place within families, within communities.”
“It’s up to each person to, I hope, feel somehow connected or find something that is relevant to their life, ”Alaoui expressed.
They encourage everyone to watch the play and leave hopefully with a greater understanding of issues surrounding the immigrant identity.
For showtimes and to purchase tickets visit: www.dancingtoawhiteboysong.com
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By Patrick Dennis Jr.
“Sometimes the strongest family is the one you make,” reads the tag line of this inspirational musical by Cheryl Nembhard. My Brother’s Keeper may sound like an old biblical phrase, but this emotional and groundbreaking play is the story of hope and perseverance.
The story of a hero-like pastor named Calvin Thompson (Troy Crossfield) transforms into an emotional rollercoaster about the struggles and joys that we all endure. Set in modern day, this musical has it all: joy, laughter, anger, fear and hope. The story of hope appeared to be the underlying message of the production.
From the young characters growing up in foster care under an abusive parent, to the character of Ryder Thompson (George Franklin), the recovering drug addict, there are many people within the musical looking for hope. Many members of the audience felt as if the play was speaking directly to them.
“The characters are very relatable, they aren’t superficial,” explains Sereen Beckford. It wasn’t just the audience members who felt that way, the cast was drawn into the play as well.
Mandy Meisner, who plays the role of Joanna Thompson, overly happy and caring mother to the Thompson brothers and wife to Bruce Thompson (Paul Meisner –her off-screen husband), described the show. “We have so many different themes, broken marriage, sibling rivalry, abuse, neglect. We [as individuals] try to put our best face forward to the world, but we all go through these things. This is the chance to say, it’s okay to talk about it.” That very human element has made My Brother’s Keeper such a success.
With the play being based on Christian values and morals, Meisner went on to add that she would like the audience take away this message, “Hope. God is right there; he is within reach the whole time, you don’t have to go through it alone.”
Aijia Waithe
For former Wexford School for the Arts student and actor behind the character Destiny Brown, Aijia Waithe, My Brother’s Keeper isn’t just about hope; it is also about change and trying to be the change you want to see in the world.
“We want the audience to know that as one person you can make a difference” said Waithe. The young actress, who shined on stage, had to dig deep to play her role as the physically abused Destiny, but with hope she was able to overcome her fears and obstacles.
This heart-gripping musical not only caught the attention of the audience but also of fellow musical director and multi-award winner, Trey Anthony. Sway caught up with Anthony after the show who had this to say about her friend and supporter, Cheryl Nembhard, “I feel a tremendous amount of love for her, to see another peer in the game. I can only be happy for her, and we as women are coming together to support each other.”
Patrick with Trey Anthony
Anthony added that there needs to be more support among black women. “We don’t show that support; other communities have that support. We need to form that as black women.” When asked what words of advice she would give to Cheryl she said, ”She has it. She is doing her thing, being true to herself…one thing I would say is, be true to your voice and who you are.”
That is what Cheryl has done and she is seeing the results of her labour. Alongside her team, Exousia Media Group (EMG) they have created a heartfelt show that connects with everyone.
Due to overwhelming success, My Brother’s Keeper (scheduled to end on July 17) has been extended and will now have two more dates to amaze audiences. Audiences can enjoy the shows on July 22 and 23rd at The Music Hall Theatre (147 Danforth at Broadview Ave).
For further details and ticket information visit www.ticketwindow.ca or call the box office at 416-778-9318, 12 – 8pm.
Photos by Matthew Machanda
Patrick Dennis Jr. is a media studies student at University of Guelph-Humber and editorial intern for swaymag.ca.
By Shannon T. Boodram
What is handed to us with the right hand can be taken away with the left. In 2007, record-breaking playwright Trey Anthony’s play ‘da Kink in My Hair was picked up as a sitcom for GlobalTV. Two years later, the Toronto-based show, which was comprised of the first all-Black cast on a Canadian national network, was preparing for its third season when Anthony received news that halted all plans and her heart.
“When I got the phone call that Global was not continuing with the show, it was really like a death,” says Anthony. “We felt responsible for telling our community’s stories and it was really hard knowing that little Black girls would no longer see themselves on TV. I felt I let down so many people. Instead of looking at what I had accomplished, I focused on what I felt I hadn’t done.”
With 26 episodes on a national channel, ratings in the hundreds of thousands and the play obtaining even brighter accolades (‘da Kink won four NAACP awards and was recently named one of the Top 10 plays in Canadian theatrical history), you may be hard pressed to understand where Anthony could find fault with her career. However, for Anthony, answering where she came up short was as effortless as her Patwa: ownership.
Two years since the TV show’s cancellation, ownership is exactly what Anthony has as she prepares for ‘da Kink’s return to the stage in August. This time around, there is no powerhouse financier lending a hand to foot the bill.
“There is not a night that I don’t get up and think, ‘Dear God, I have invested all of my savings into this play. Have I lost my mind?’ says Anthony. “Producing this show on my own scares me, failure scares me. I am scared.”
Fear seems to be a common theme among the new ‘kinky’ women. Toronto’s Tika Simone, who has been cast as the character Rain, says she is “quite nervous and really scared” about the pressures of starring in the show’s second coming. But she says that whenever she feels the pressure mounting, she looks to the leader.
“Trey is the calmest person you will ever meet,” says Simone. “She has always been an inspiration to me not only because she represents Black women, but plus-sized women as well. She’s an awesome mentor with an incredible amount of experience.”
Hearing that she inspires others to expect excellence is a dream come true for Anthony. But sadly, she will not be able to fulfill her dream of saying “thank you” to the woman who gave her the same permission — more accurately, this conversation cannot happen on the set of The Oprah Winfrey Show as Anthony always envisioned.
So, until the universe conjures up a new way for her to have an uninterrupted pow-wow with Oprah, Anthony continues to pay homage by following her example. “The one thing that always stood out for me is that she continues to own her stuff. She owns her business and does it the way she wants to despite the naysayers,” she says.
And much like Oprah, who retired her mammoth talk show to commit herself to the operations of the Oprah Winfrey Network, Anthony decided that taking on the new role of independent producer of ‘da Kink means she has to let go of an old role, too. Come August, you will likely see Anthony at the theatre, but chances are you will not see her on the stage.
“Everything has a cycle and I am excited to pass over ‘da Kink to the new generation to see what they do with theirs,” says Anthony, who does promise she will be guest starring as Joy on surprise nights.
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By Amanda Robinson
There’s no question that Cheryl Nembhard feels a lot of pressure — it’s written all over her face. The pressure comes from wanting to get it right and because of a label others have put on her. Already known as one of Toronto’s most talented gospel singers/songwriters, Nembhard has garnered attention for writing and directing five gospel musicals that have been attended by thousands. Now, she’s being called Canada’s Tyler Perry.
“I’m honoured to be counted in that category because no one, as a person of faith, has accomplished as much as he has in the area of the arts,” she says. “But I take it with a grain of salt because I feel like with the platform that God has given me, I don’t wanna just make people laugh.”
So is it safe to assume there’s no Madea character in her theatrical productions? Nembhard laughs, “No, no Madea and definitely no cross dressing!” She quickly points out that she doesn’t have a problem with comedy in her productions, but wants it to be more natural and less slapstick. “Laughter is good medicine, but I usually use comic relief to lift a heavy situation,” she says.
The heavy situations in her plays come from a very real place. Nembhard previously worked with at-risk youth at Toronto City Mission and has suffered her own hardships. From the ages of five to 12, a family friend molested her. As a result, she turned to gangs, drugs and alcohol. “It was a horrible, horrible time for me,” she recounts. “It really messed up who I was. There are so many children who do not tell. They have no voice. I just want to, in some small way, tell them that they have a voice.”
Nembhard always had an interest in theatre, but put it on the backburner to focus on music. It wasn’t until her production, The Ultimate Sacrifice, about an ex-gang member who is reformed in prison and goes back to the streets to make a difference, premiered last year that she realized her purpose was bigger than just music. “We saw Mississauga’s Hershey Centre filled to capacity — 4,000 people,” she says. “It was then that I started to look at the crowd and go, ‘Whoa! There is a desire for theatre with positive messaging.’ I felt I should explore this a little bit more.”
Now in its second year, gospel theatre production company Exousia Media Group, of which Nembhard is co-founder and creative director, boasts unique members. It not only employs trained actors and dancers but also ex-gang members and former drug addicts and dealers. “That’s one of the principles of Exousia. We rehabilitate, restore and then release the youth to give back in any creative way that they can,” she says.
Nembhard’s newest play, My Brothers Keeper, premieres on July 14 at The Music Hall Theatre. It touches on issues that are plaguing Toronto’s group-home system. “This play centres around a character named pastor Calvin Thomson who stumbles on a group home with a terrible secret. I always use one [main character] in my plays because of my own life. I want to show people that one person can make a huge difference.”
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Cast of AWAKE
By Anya Wassenberg
Expect Theatre’s AWAKE is a powerful production, words that were echoed by many in the large opening night audience at the Walmer Street Baptist Church. In its outlines, the story revolves around the infamous 2005 shooting death of Amon Beckles, who was brazenly gunned down when he stepped out of a church as he attended a funeral service for a friend near Finch and Albion. Along the way, it tells the stories of a wide cross section of the inhabitants of the Jamestown area, all of their lives affected by gun violence. It gives a voice to the human realities behind the troubling headlines of one of Canada’s most notorious neighbourhoods by using a script taken from hundreds of hours of interviews with its people. Those words are delivered verbatim, their truth adding a real poignancy and weight.
AWAKE begins and ends as a funeral service presided over by an eloquent pastor and live organ music. Sections of the service and the pastor’s speeches punctuate the narratives of the rest of the cast, who spill out their stories one after another. There’s the girl who began selling cocaine at 14, and witnessed her first murder at 15 when random racial violence erupted on the street right in front of her. There’s the kid who begins his morning by having to jump over a puddle of urine in the elevator. There’s the voice of Nadia, Amon’s mother, and that of another woman who lost a son to the neighbourhood’s pervasive cancer of gangs and guns, alongside those of the kids who see selling drugs as the only thriving business. The voices of the area’s cops round out the mix with a kind of us-and-them view that judges everything from the outside.
What emerges is a culture of fear and poverty-driven necessity; even so, the voices present a complex portrait of a place where there’s still hope under the tragedy. There are flashes of humour in the opening segments, and although that gives way to a darker atmosphere as the stories get more intense, the mood is alleviated by musical sections, including dance numbers and rap vocals by youth artist URV. The church itself is a gorgeous old structure that adds to the piece with a unique atmosphere, including a full sized organ, stained glass windows and flickering candles.
The very talented cast was uniformly strong in being able to convincingly bring the string of characters to life, many of them taking on more than one role. Beryl Bain as Nadia and Quancetia Hamilton as the other mother are especially riveting, and the actors are rounded out by dancers Raffaele Brereton and Tazz Blaze. Their commitment to the material is obvious.
The real Nadia Beckles was in the audience last night and took a round of applause herself for her courage in being able to tell such a heartrending story so candidly. I’m expecting this will be one of the most talked about shows at this year’s Toronto Fringe Festival.
Featuring: Beryl Bain (Shaw Festival, I Marcus Garvey), Lauren Brotman (Dora Award for Theatre Direct’s And By The Way Miss), Quancetia Hamilton (Da Kink In My Hair at Princess of Wales), Muoi Nene (Obsidian Theatre’s Ruined, Volcano’s The Africa Trilogy), Peyson Rock (Soulpepper’s King Lear, LKTYP’s Bunnicula) and Richard Stewart (Theatre Archipelago’s I Marcus Garvey) along with dancers Tazz Blaze and Raffaele Brereton and youth artist URV. Organist, Richard Wilson.
Created and Directed by Laura Mullin and Chris Tolley
Choral Direction by Andrew Craig
July 6, 2011 – continues to July 17
For more information on AWAKE and the Fringe Festival, visit expect.org/awake and www.fringetoronto.com.
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Dr. Elaine Brown Spencer
By Adebe DeRango-Adem
Dr. Elaine Brown Spencer’s courageous play, adapted from her recently published book, breaks the silence and tackles issues in the Black church community members have ignored for too long. Sway sits with the acclaimed writer and scholar Dr. Elaine Brown Spencer to get at the heart of the issue, and how she keeps the faith.
AD: Your play Private Pain In Public Pews is adapted from a book you recently wrote (Private Pain In Public Pews: Uncovering the Hidden Secrets of Life in the Pews, Westbow Press, 2010) and looks at the silenced pain that goes on in church communities. What was writing the book like, and then creating a play from that text? Did you find making the transition to playwriting natural?
ES: The process of writing this book was intense and exhilarating. It allowed me to give voice to the thousands in the pews who have experienced silent pain left unaddressed. During the four months of writing this book, the truth is, I had no idea that I would adapt it into a play as that wasn’t the purpose initially. However, half way into my writings, I was divinely inspired to adapt the book into theatrical form. It was somewhat of an easy transition as the framework for the storylines were already written in chapter 2 on “Real Talk,” which is the chapter the play is based upon. The actual transition from book writing to playwriting did feel natural but writing the scripts was definitely challenging at times in terms of eliminating some of the detail that is not necessary for the stage. Nevertheless, this process has been deeply rewarding and I am looking forward to writing part two.
Does the play mirror your own spiritual journey in any way?
Absolutely. I grew up in the Black Church and I have seen and experienced a lot. Some of the storylines depict portions of actual life events that I have encountered. The play connects the viewer with the spiritual realities of faith communities who experience and overcome many obstacles. This is why I am so passionate about the unique and cherished community of the Black Church because despite the “drama” there is a relentless vitality, power and hope for those who strive to and have overcome life’s obstacles.
It might be argued that in order for an idea to really be transformative, it can’t “preach to the converted” so to speak; it has to speak to those who are willing to be changed. What do you think of this?
Part of the issue today is not being real about our failure and struggles. This is not to suggest that we should not be aiming for success but rather that we should have a humble approach to life’s realities. If we tackle ideas that transcend superficiality and be real about struggles that can be remedied through our faith in God (as in the case of characters Samantha and Sarah in the play, for example), that is where change comes about.
You have an impressive academic background, with a PhD in Sociology & Equity Studies. Do you see a connection between equity studies and your pursuits in the creative arts?
Most definitely. My dissertation looked at the historical Black Churches in Canada from a sociological perspective. There has been little attention in academia to the role of the Canadian Black Church in the Black Community. I argue that the Black Church played a pivotal role during the Afro-Caribbean immigration years of the 1960’s, 1970’s and 1980’s. It served as a social welfare institution and safe haven for black people who experienced severe injustices and discrimination in Canada. The Black church provided an outlet and sense of belonging for a people who were dehumanized in broader society. Yet, the creativity and resilience fostered amongst its members has been the catalyst to its survival. The creative arts have always kept us going. The music, the vibrance, the preaching style and oratory skills within the church are all distinct cultural patterns that should not be ignored. My play Private Pain in Public Pews connects faith with equity as it creates a space for us to interpret the church from within, not negatively from those who are not members of this community.
Who would you say your primary audience is, as an author as well as playwright?
As an author and playwright, my primary audience are people who enjoy Black Theatre from a perspective of faith.
How do you see the state of Black Canadian theatre?
There seems to be a revival and upswing of theatre immersed in the Black experience but not enough that is faith based. I would love to see more of this as I believe there is a huge audience that would welcome Black Canadian Theatre that connects issues of faith.
What are you working on now, and where can we go to hear more about your work?
I am currently working on doing more shows and developing the sequel for my play, Private Pain in Public Pews – Part II. You can hear more about my work by visiting www.drelainespencer.com, Facebook, or by emailing me at [email protected].
Private Pain in Public Pews
Trey Anthony Studios & Manifesto presents
August 11 – 21, 2011
“LOOK.AT.ME”
ART SHOW.
“LOOK.AT.ME” is a multi-dimensional show that will be shown
inside the Enwave Theatre for the run of ‘da Kink in my Hair,
including the opening night. This off-stage production features
works from a wide range of artists that come together to
produce a powerful collaboration of stories.
Exploring through a variety of art mediums, each piece is to delve
into the survivals, the evolutions, the souls, the depths, the
inspirations, the love, the struggles, and the triumphs of
a Black Woman.
Be a part of ‘da Kink History!
CALL FOR SUBMISSIONS
• Painters • Illustrators • Photographers • mixed-media ARTISTS
• NEW MEDIA Artists • EMERGING & ESTABLISHED ARTISTS
All interested candidates should provide:
1.) Artist bio and full name/artist name
2.) 3-5 samples of the work you are interested in displaying
3.) Your email & phone number
submissions due: June. 06. 2011
PLEASE SEND YOUR SUBMISSION TO:
MANIFESTO wants the world to see what you got!
We are looking for artists of all kinds. Cross-disciplinary, Installation artists, Illustrators, Fashion designers, Painters, Film-Directors, Photographers, New media artist, Emerging and Established artists!
Apply today to exhibit in the 5th Annual Manifesto Festival of Community & Culture happening this September in Toronto. We look forward to meeting you.
THEMANIFESTO.CA/SUBMISSIONS/VISUAL
check out the Manifesto submissions:
themanifesto.ca/submissions1love
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By Adebe DeRango-Adem
AD: You are headlining the FrancOmen – Women Speaking Frankly event at the rock.paper.sistahz festival, an annual festival which concentrates on presenting performance work by black women artists and artists of colour. Can you tell us more about FrancOmen in your own words?
RS: This is an evening of Caribbean comedy and the oral traditions. My special guests are popular Tobago wordsters Naomi Abiola and Glenda Rose Layne live from the sister isle. Trinidad and Tobago has a diverse oral tradition in the form of mauvais langue (bad talking people) picong and fatigue (poking fun of people and situations) ole talk (talking nonsense), FrancOmen (plain talk, no pretense.) It is all of these that I embrace in my brand of comedy and what you would expect to hear at FrancOmen.
Frankly, you are a woman of many talents—an actor, director, storyteller, play creator and broadcast journalist. When did you first discover the world of performance? Can you tell us about your journey through these various roles?
My acting journey started when my dad first bought a television, a black and white Sylvania Potential. Wow! I even remember the brand name. Our national television Trinidad and Tobago Television (TTT) would televise live the annual Prime Minister’s Best Village Competition. This meant that all the regular programming such as Peyton Place, Iron Side, Dark Shadows, and the Partridge Family were all preempted. My sisters would be pissed and would go to bed but my mother (bless her heart) and I would stay up until past 11pm looking at the live coverage of the competition which was different villages vying for the trophy in a Musical theatre competition. There was drama, well in those days they called it a skit, folk singing and folk dances of our heritage. In addition to this there was a local soap opera called ‘Who the Cap fits’ on TV during my early teens and here again I am exposed to seeing my people on TV and it was here the seed for being an actor started to germinate. I wanted to be like the actors I saw on WTCF but I never said this aloud as being an actor is not a serious profession to my parents. It was seen as a hobby but you still have to hold a regular job.
As a storyteller, I was first exposed to the works of Paul Keens Douglas and his character called Tanti Merle and then later on I got to know of Ms Lou’s work when Paul Keens brought her to Trinidad for one of his concerts. By this time I am a budding actor in the Best Village competition performing with the group Barataria Community Council. I had a penchant for poetry and while I was not writing any, I was very adept at performing other people’s poem. My favoured poet of that day was local poet, Pearl Eintou Springer and then I got a book of poems by Jamaican dub poet Mikey Smith and was smitten by his work as well. Fast forward, and I am asked to join Paul Keens Douglas’ Talk Tent by Dennis ‘Sprangalang’ Hall, Trinidad’s leading comic. He saw something in me I suppose, and invited me to audition for Mr Douglas and for the next nine years I would be one of the pioneering women in the Paul Keens Douglas’ Talk Tent, a post carnival forum for comedy and the oral traditions in Trinidad and Tobago. Today I do my Frankly Speaking series which is becoming a cult classic among a wide cross section of a Caribbean audience in Toronto and the GTA.
I remember a director, Lester Efebo Wilkinson once told me, I have the eye. It took me a while to realize what he was saying to me. Some years later it, I recognized it to mean I had the eye of a director. However, my journey to being a director appeared one day when I felt I had what it takes to direct a play and it started with directing my alma mater at the annual Secondary Schools Drama Festival in 1986. So after six year as an actor I had the confidence to direct. The confidence I garnered was further inspiration to study the craft at the University of the West Indies Creative Arts centre in Trinidad in 1991. After that it was no stopping, but my biggest break came in 1996 when I went to audition for a part in a play called Shango- Tales of the Orishas. After my audition, I was called back by the director of the centre and offered the role of directing the play instead. I don’t know why he chose me to do this but the subsequent work I did on this play remains a standout production done at the centre and it was later invited to perform in Jamaican and Cuba to huge success as well.
bCurrent expands opportunities for black women artists to have their work nurtured and visions realized. How do you see the role of performance within the larger project of recognizing, preserving and promoting the contributions of peoples of African ancestry and their collective histories?
RS: It is an incubator for us to tell our stories of today, yesterday and tomorrow. As a people living in this space, we have to continuously be carving out a niche for ourselves. At the end of the day some of us are all born here but it is still not our ancestral home and as artists we owe it to ourselves and the generation to come to reflect our joys and sorrows, triumphs and tribulations in the here and now. It is through art and culture that we are kept informed. The cynics may say that it is through the internet and the news, but I beg to differ. It is the artist who gives us a true reflection of ourselves whether in dance, drama, visual art, poetry or sculpting.
Do you think we need more Black-specific arts programming?
RS: I say we need the arts. Whether it is black white or yellow, it should never be colour-coded. I embrace all arts programming, none shall be more than the other. Equal opportunity for all is what I would rather opine.
What are some Black-authored plays or performance texts that hold a special place in your heart?
RS: Jean and Dinah, Twilight Café, Ti Jean and His Brothers, Joker of Seville. I like Earl Warner’s Wine of Astonishment and The Dragon Can’t Dance, which were novels adapted for the stage. Here in North America, I love For Colored Girls, Harlem Duets and Adventures of a Black Girl in Search of God.
What author, playwright, or performer in history would you have loved to have a coffee (or tea) and chat with, and why?
RS: Derek Walcott. I would first ask him if he hates women, why all his plays are so full of men and little or no roles for women. That out of the way, I am in awe of his skill for heightened text and would ask him how I could write like that. Is it a gift or is it something that could be taught? Then I would ask him to talk to me about being Caribbean and how this history and heritage is informed in his writing. Having heard all that, I would then ask him if Trinidad was his muse in his early career as a playwright and poet.
What advice would you have to young playwrights and performance artists who want to get their voice heard, and are just starting out?
RS: Read and read a lot. Be aware of the environment that you live in, its culture, and its heritage, what is its swag today. You can only create from a real place; if you are not for the truth, then you are a charlatan. Experience all that life has to offer because it is those experiences you have to call upon to create art whether as a writer or a performer. Take the time to start, don’t force it, art and creativity are organic.
Where can we go to hear or find your work?
RS: For starters, come out to FrancOmen on May 13 at Wychwood Theatre- 601 Christie Street. Otherwise check YouTube- Frankly Speaking with Rhoma Spencer for video and audio of my work. Later in the summer, I would be at the Island Soul Festival from July 29- August 1 at Harbourfront doing Jouvay.
Rhoma Spencer is an actor, director, storyteller, play creator and broadcast journalist from Trinidad and Tobago domiciled in Toronto. She was the outgoing Resident Director and Administrative Manager for the AfriCan Theatre Ensemble and has performed on stages throughout the Caribbean and North America. In the summer of 2003 she was the Artistic Director of Caribana. Ms. Spencer holds an MFA in Theatre (Directing) from York University in Toronto.
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Compiled by Shaundra Selvaggi
Tuesday, May 10
10th Annual Rock.Paper.Sistahz Festival
Theatre production company bcurrent presents its annual rock.paper.sistahz festival showcasing black women through film, theatre, dance, art and storytelling. This year’s ten-day celebration features artists from the past decade, daily cocktail session studio.Sistahz and Uth, a day full of activities designed for and by youth.
Wednesday, May 11
Foundations of Freedom Tour Fundraising Reception
Participants of the 2010 Foundations of Freedom Tour (a South African tour highlighting the struggles and accomplishments of blacks during apartheid) invite guests to a fundraising reception for Christ the Reconciler Youth Centre and Building Fund in Cape Town, South Africa. Admission includes: refreshments, a special presentation by Tselane Mokuena, Consul-General of South Africa in Toronto, silent auction and door prize.
Ryerson University’s Heaslip House, 7th Floor. 6 – 8 p.m. Tickets: $50
Saturday, May 14
The Westview Project Fundraiser
The Lambda Mu Mu chapter of Omega Psi Phi Fraternity, Inc. has partnered with the Westview Partnership, a collaboration between York University and the Toronto School Board, to uplift the Jane and Finch community.
The formal event will feature keynote speaker Thabiti Boone, an advisor to US President Barack Obama’s Fatherhood Initiative. In addition to dinner and dancing, there will be a silent auction, awards ceremony and door prizes. Proceeds benefit the Westview Project.
Four Points Sheraton. 6pm. Tickets: $65
Contact: Raymond Tyghter 416-725-2369 | Derrick Dudley 647-780-8702 | [email protected]
Usher OMG Tour
Usher brings his smooth blend of R&B/Pop to Toronto for the second leg of the OMG Tour. The multi-talented sensation’s latest release Versus is an extension of last year’s Raymond V. Raymond, has produced such club anthems as “DJ Got Us Fallin’ In Love” and “More.” Expect two hours of non-stop choreography, stunts and crooning as only Usher can deliver.
Special guest Akon will open.
Air Canada Centre. 7pm. Tickets: $103 – $143
Sunday, May 15
GoodLife Fitness Toronto Marathon
Run for a cause in the 2011 GoodLife Fitness Toronto Marathon! The 34th annual race takes place on Sunday, May 15, and offers a pace for everyone.
Participants have choice of a full or half marathon, 5km run or relay starting from Queen’s Park or Mel Lastman Square.
Official charities of the GoodLife Fitness Toronto Marathon include The Princess Margaret Hospital Foundation, Team Diabetes, Sick Kids Hospital, The Heart and Stroke Foundation and many others.
Runners must attend a FREE registration Expo, featuring motivational speakers and training workshops in preparation for the big event.
For registration and more information, visit www.torontomarathon.com
Celebrating Jay
Under the distinguished patronage of Seth George Ramocan, The Consul General of Jamaica, you are invited to a magical evening of music, tribute and celebration in honour of over 40 years of Jamaican legend Jay Douglas. Jay Douglas the man. Jay Douglas the music. Jay Douglas the musical inspiration of a generation. Jay’s captivating stage presence and limitless vocal ability have garnered him world-wide recognition as one of the pioneers of Jamaica’s early reggae movement.
Rock the Royal with Jay and his friends with a musical marathon, including:
Ernest Ranglin|Jackie Richardson|Joe Sealy|Eddie Bullen|Dubmatix (Jessie King)|Bill King|Archie Alleyne and many more…
Part Proceeds are for the establishment of a JCA Scholarship in Jay’s name.
Royal Theatre. 7pm. $45, $90 (VIP Reception with Artists)
Climax Fundraiser
Proud FM 103.9 and Gib San Pool & Hot Tub Centre present Climax
Starring: Jully Black, Jeffery Straker, Richard Ryder and Miss Conception
Join us for a very intimate afternoon including an art auction from The Laser Eagles Art Guild and live performances by some of Canada’s and Toronto’s best performers. National Ballet Theatre. 1pm. Tickets: $75 (includes light brunch and host bar)
For tickets and more information: www.proudfm.com/climax
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By Ryan B. Patrick
To get a sense of what Dance Immersion is, you must first grasp what it’s not. And what it’s not is simply a dance company, says organization founder Vivine Scarlett.
A former dancer, Scarlett was driven to do more than just dance. She had a vision of building a foundation for a thriving and sustainable dance community geared around Black culture. “We’re a presentation company specializing in dance, primarily involving rhythms from the African diaspora,” says the choreographer, instructor and dancer.
It’s a distinction that has served the organization well over its 16-year history. With a deeply rooted love of dance and a strong mandate to produce and promote dancers and dances of the African diaspora, the presentation organization has grown into a key force in the Black community and a cultural tour de force.
Dance Immersion’s goal is to introduce the general public to the many styles and aspects of dance, says Scarlett, adding that this includes showcasing emerging talent by way of skill development workshops, youth arts programs, collaborative projects and forums. “We’ve realized that the community needed more,” says Scarlett, referring to the need to provide skills development and networking opportunities. As a result, the organization created a strong arts program, which to date has seen more than 7,000 youth explore the world of dance through its drum and dance classes.
Traditionally for Dance Immersion, each year revolves around a major showcase presentation in a professional theatre. The showcase offers matinee performances designed to introduce school- aged children and general audiences to the world of dance. This spring season featured the popular Toronto urban dance crew Baby Boyz Dance Group in a unique presentation geared towards a younger demographic. The styled “urban dance story” Three Boyz, Three Countries—One Dream is a tale of culture, social issues and anti-violence. It revolves around three young men from disparate backgrounds, Africa, Jamaica and Canada.
It’s important for the organization to be attuned to the latest developments within the dance world in order to grow and stay relevant, says Scarlett, adding that presentations such as the Baby Boyz showcase are part of that. Scarlett is particularly proud that she has seen the Baby Boyz group members grow into artists who are aware of the positive effect they can have in the community.
In 2007, Dance Immersion brought the group to Ghana, to perform and visit local schools and orphanages. In effect, the organization can be credited with not only bringing Black dance to the forefront in Canada, but keeping it there. “Over the years, we’ve watched the community grow and continue the legacy of Blacks in dance within Canada,” says Scarlett.
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