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The Birds

Aristophanes's classic tale is transformed into a story for Turtle Island

Content Notes

Content notes (sometimes called content warnings) are our opportunity to give you a heads-up about some of the things you will encounter in the production. We recognize that certain content could be triggering and that there are some days you might not want to deal with those things or might need to have a heads-up before you do.
 

If you prefer to be surprised by the content, feel free to skip this section. Engage with the play in whatever way you wish!

 
 
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Digital viewing of this production will be available May 29 - June 4, 2021.

Online ticket sales link will be live on May 27, 2021.
All tickets $10.00

Contact the Timms Box Office via email at uastudio@ualberta.ca or via phone 780-492-2495 for additional ticketing information.

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The Birds is a featured event at the annual Congress of the Humanities and Social Sciences, Canada's largest gathering of scholars (May 27 - June 4, 2021). The theme for this year’s Congress is “Northern Relations."

 

Uncover.

Discuss.

Engage.

Check out this uncanny yet mesmerizing randomized digital bird generator by GooGroker. After hitting play, press X to create a new bird and Z to listen to its call.

The play opens with two men, Jack and Gulliver (tired of life in their old world which has been scarred and laid waste) arriving in the land of the Turtle Island birds. After admiring the view, Jack immediately claims to have “discovered” the “real estate” that would be worth a “pretty penny.” They pitch their plan to develop a city first to Hoopoe - a man who has fashioned himself as a bird and has taught the birds to speak in the common language of English instead of their many Indigenous tongues. 

 

When the birds are summoned they immediately identify the men as enemies, accuse Hoopoe of selling the land and a battle ensues. Eventually, Jack is able to convince the bird leaders that they’ve been dispossessed of their rightful powers by the gods and men. To remedy this they propose to build a walled city which will interrupt prayers. The birds agree after conferring extensively and invite the men to dress themselves in feathers as well.

The Nightingale is honored by the birds and lusted after by the men. At key points in the plot she sings of Creation and of her transformation into a bird after the rape and mutilation of her sister. As the city is being  built, they receive visitors: a priest, a poet and land surveyors who map the city, proposing new names so it can be included in the Dominion. Eventually an Agent arrives to oversee the city for the government and a lawyer to enforce the Dominion’s laws. All these interlopers are driven away and Eagle eventually intervenes to remind the birds of their values.  

 

The play touches on issues of terra nullius, Lockian concepts of land improvement, residential schools, the rape and mutilation of women and survivance despite temptations and violence. It is also an adaptation of Aristophanes' The Birds, which is one of the quintessential Greek comedies. (You can learn more about Greek comedy here!)

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Yvette Nolan

Yvette Nolan is an Algonquin / Irish playwright, director, and dramaturge who has had a significant influence on Indigenous Theatre across Turtle Island.

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Nourish the Audience:
A Personal Reflection on Yvette Nolan's Dramaturgy

"It's done," I said.

"Yep," agreed Yvette. "It is. Now what?"

Now what indeed...

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ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ

Amiskwacîwâskahikan

Amiskwacîwâskahikan, colonially known as Edmonton, has a rich Indigenous history and culture, and plenty of opportunities to learn more about it...

 

Director's Notes

When I was first approached by Melanie Dreyer-Lude, the Chair of the University of Alberta Drama Department and the Artistic Director of Studio Theatre, to compile a list of Indigenous plays to be possibly performed on the Studio Theatre stage, I was intrigued. It had been eleven years since an Indigenous play was performed on the Timms stage. In Studio Theatre’s 2009/2010 season, I played Annie Mae in Yvette Nolan’s Annie Mae’s Movement, directed by MFA student Jessica Abdallah. In 2021, I have now become the first Indigenous Director in a Studio Theatre season, with Yvette Nolan’s adaptation of The Birds. This is the third time I have directed Yvette’s work and I have to say, the more I delve into her words, the more I realize just how prolific she really is.

 

Yvette has brilliantly created characters that recognize and challenge the ways in which Indigenous and non-Indigenous worlds collide. In The Birds, she depicts the apocalyptic erasure of birds in the human world with the birds having fled the cities for their own survival. This play provided a unique opportunity to delve into Indigenous ways of knowing and being with the 4th year BFA Acting company without appropriation. Working with this predominantly non-Indigenous class on this Indigenous work with the support of the Drama Department has brought our worlds together in a self determined way. Creating an Indigenous creative process within an educational institution may not seem transformational but it is. Indigenous process inherently disrupts the hierarchy of creative processes. This is especially relevant with where we are in the times of #NothingAboutUsWithoutUs, #BlackLivesMatter, and #MMIWG.

 

In The Birds, this is represented through the presence of the Swallow, who is referred to in the play but not seen. In the time of enabling constraints, the Swallow joins the company as the unseen but present bird bringing to light the silence of Missing and Murdered Indigenous Woman and Girls. The students who are graduating this year have received training that not only prepares them for the performative world but the world we truly live in; one that is changing how Indigenous artists engage with the greater theatre landscape. It humbles me to see that with the experience of The Birds, these students will contribute to the change this country needs. Pandemic times being what they are, the run will be streamed. However, the presence of the story and its tellers may still reach through to hearts and minds of the ones that choose to witness.

--Reneltta Arluk

Dig Deeper...

(But Not Beyond the Depth of a Plough)

"A dramaturg is a member of the artistic team of a theatre production who is a specialist in the transformation of a dramatic script into a meaningful living performance."

(5) Michael Mark Chemers, Ghost Light: An Introductory Handbook for Dramaturgy, Southern Illinois University Press, 2010.

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The Birds eClass

As part of preparing the actors to have the background needed to begin rehearsal, Reneltta Arluk, Ken Williams, Selena Couture, and Cassandra James designed a six part curriculum to learn about Indigenous History in land known as Canada...

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Introductions

It's quite common among Indigenous people to ask "where are you from?" It's not considered rude. It's an invitation to share who you consider your community and family. The question implies certain responsibilities. It's asking, what is your relationship to the land you're on right now?...

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Indigenous Community and Governance

To better understand Indigenous and settler approaches to community and governance, here are two articles we used as a group to think through land acknowledgement and treaty obligations...

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Trade, Property, Land

The concepts of property, land, and trade are deeply intertwined. Here are three films that look more closely at the contentious histories of these topics in relation to colonialism...

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Residential Schools: Truth and Reconciliation

To begin our conversations about residential schools, we asked students to reflect on what they already knew about these institutions. We encourage you to do the same, then check out these four videos that shine a light on the system...

(Content Warning: Abuse, Violence, Sexual Violence)

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Art as a Form of Erasure

In this section of the eClass, we engaged with 3 projects as a way to understand how theatre can either contribute to erasure of Indigenous people, or fight against it...

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Colonization and the Body

For our final section of the eClass, we took a look at four Indigenous artists' approaches to sex, love, intimacy, and embodiment in their work...

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Good Vibrations: A Playlist for The Birds

Kenneth Williams has put together a playlist of Indigenous songs to jam to while learning more about the show and its context...

 

Featuring...

 

Playbill

THE CAST

Jack — Zac Strom

Gulliver — Hannah Wigglesworth

Sandpiper/Poet — Lauren Brady

Hoopoe/Shadow Creation Song — Dylan Maguire

Nightingale — Elizabeth Chamberlain

Raven — Michelle Robb

Agent/Lawyer/Owl — Max Hanic

Duck/Priest/Surveyor/Shadow Crow — Thomas Kassian

Eagle/Shadow Creation Song — Julia van Dam

Surveyor/Owl/Shadow Hawk — Sophie Healey

Duck — Jackson Thompson

Humming Bird — Taylor Nichols

Swallow — Sue Goberdhan

Shadow Creation Song — Elizabeth Page

CREATIVE TEAM

Director — Reneltta Arluk

Set Designer — Even Gilchrist

Costume and Lighting Designer — Robert Shannon

Sound DesignerAaron Macri

Composer — Kirsten Hawson

Co-Composers  Cassandra James, Aaron Macri

Dramaturgs — Selena Couture, Kenneth Williams

Assistant Director — Cassandra James

Movement Coach — Lin Snelling

Vocal Coach — Kirsten Hawson

Fight Director —  JP Fournier

Assistant Costume Designer — Rory Turner

Assistant Lighting Designer Even Gilchrist

Stage Manager — Courtney Bettanin

Assistant Stage Manager — Elizabeth Page

ADVISORS

Design Advisor — Robert Shannon

Stage Management  —John Raymond

Scenic Art Advisor — Cindi Zuby

RUNNING CREW

Lighting Operator — Derek Miller

Sound Operator — Dylan MacKay

Stage Crew — Jack Thompson

SPECIAL THANKS TO

Ayrton Markowski

PRODUCTION TEAM

Production Manager — Gerry van Hezewyk 

Technical Director — Larry Clark 

Assistant Technical Director — Shane Marsh

Wardrobe Manager — Joanna Johnston

Cutter — Julie Davie

Milliner — Karen Kucher

Stitcher —  Kade Mazury

                                               

Master Carpenter — Darrell Cooksey

Scenic Carpenter — Barbara Hagensen, Peter Locock

                                                                       

Lead Scenic Artist — Rory Turner

Scenic Artists — Julian Anderson, Amy Dass, Curtis Gauthier, Stuart Lindsay, Kade Mazury, Isabelle Martinez, Ian McClellan, Skylar Veldhuis

                                               

Properties Master — Jane Kline

Properties Assistant — Tiffany Martineau

Lighting Supervisors — Jeff Osterlin, Mel Geary

Lighting Technicians — Amy Dass, Curtis Gauthier, Kade Mazury, Ian McClellan, Skylar Veldhuis

Sound Supervisor — Matthew Skopyk

Head of Sound — Dylan MacKay

ADMINISTRATION

Department Chair/Artistic Director — Melanie Dreyer-Lude 

Administrative Chair — Julie Brown

EA/Grad Advisor — Liz Ludwig

Undergrad Advisor — Connie Golden

Theatre Administrator — David Prestley 

Box Office Coordinator — Candice Stollery

Office Coordinator/Admin Assistant — Helen Baggaley

Marketing and Communications — Erik Einsiedel

 

Gallery

Check out behind-the-scenes content from some of our previous productions!

Content compiled by Selena Couture and Kenneth T.  Williams