Upstage - Yaga

play and lots of comedy.”

—TORONTO STAR

Kat Sandler –Playwright

Hello!

Welcome back to the Belfry and our production of Yaga by Kat Sandler.

This production is a one-of-a-kind collaboration between Indigenous and Ukrainian artists—a celebration of two unique worlds and cultures. The Slavic folktale of the supernatural Baba Yaga is the launching pad for a clever and witty exploration of female power in its many forms.

We’re pleased to welcome Tracey Nepinak (The Rez Sisters, Bears) back to our stage. She is joined by Nicholas Nahwegahbow (Belfry debut) and Anastasiia Ziurkalova (Belfry and Canadian debut).

Anastasiia is originally from Kyiv.

As always, we look forward to seeing you at the theatre.

Land Acknowledgement

The Belfry Theatre is on the land of the People, known today as the Esquimalt and Songhees Nations. The people have been keepers of this land for millennia and we offer them our respect and gratitude for our presence on this territory.

B4 Play

SATURDAY, SEPTEMBER 9 AT 11 AM

BMO Studio Theatre, 1291 Gladstone Avenue

Our live talk show hosted by CBC Radio’s Gregor Craigie and featuring artists from the upcoming show, along with experts from the community, has been designed to provide insight into each Mainstage production.

Panelists include members of the cast and creative team of Yaga and community experts Megan Swift (Professor of Russian Studies at the University of Victoria), and Nicole Mandrik (a multidisciplinary artist of Anishinaabe Irish and Ukrainian decent).

Each event is held the Saturday before Opening, is free to attend, live streamed on Facebook, and is available as a podcast on our website.

B4Play is ASL Interpreted.

To reserve your free tickets, please call our Box Office 250-385-6815.

is produced four times per year and can be found at branches of the Greater Victoria Public Library, the Belfry and online at issuu.com/belfrytheatre. If you would like a digital copy please drop us a line at hello@belfry.bc.ca.

Join

Yaga is generously supported by

Tickets 250-385-6815 / tickets.belfry.bc.ca

vimeo.com/belfrytheatre

twitter.com/belfrytheatre

BELFRY THEATRE

1291 GLADSTONE AVENUE

VICTORIA, BC

V8T 1G5

WWW.BELFRY.BC.CA

Upstage is supported by

Michael Shamata and Gregor Craigie

Photo by Don Craig

(In-person + Online)

Q&A with Kat Sandler

1. You’re quite a force in the theatre world, staging something like 17 original plays in under a decade! And you wear many hats — artistic director, screenwriter, playwright — how does your directorial eye inform your writing?

I always think of writing and directing as one job - to shepherd an idea (rather than a script or a show) from conception to production, so I never really take off either hat. When I’m writing I try to think ahead to what “director me” will be staging/what the audience will be seeing/feeling at that moment and write towards that. For instance, if there’s a very talk-y scene, I think, what could this use physically? A fight? A spill? A moment of physical tension? - and then try to write it in. When I’m directing, I can always use my writer brain to shift the script to help me give a moment more impact or change a line because an actor ad-libbed something great or is struggling with a word or a moment.

2. What was your fascination with Baba Yaga? What made you write a play about her?

I’ve always been fascinated by legends and myths, and the villains at the heart of them. I was raised on a steady diet of cookiecutter fairy tales and prince-rescues-princess-from-wicked-witch narratives. So, when I first came across Baba Yaga, I was struck by three things: the imagery of her chicken hut and preferred method of travel and bone grinding (mortar and pestle); her ambiguous moral code; and the fact that she had a name. Witches are so often defined vaguely by colours, geography or their protagonists (i.e., “White” or “of the West” or “the one from Hansel and Gretel”) but here was a witch powerful enough to be remembered for how she operated, how she lived, not just how she got shoved into an oven or poisoned an apple that one time. I thought that was cool.

I also was fascinated by what was actually written about her; she’s usually described as old and ugly, and sometimes she kills people, but she helps them too, when she wants to.

Across the globe she’s seen as everything from monster to a quest donor, wise woman to a goddess, trickster to a saviour and everything in between. To me, she’s a compelling, morally ambiguous, complex female character - a villain and a protagonist, an antishero who does what she wants and refuses to be defined or labelled as one thing.

I loved the idea of updating her to a modern woman, and wanted to write something that came at the story of a female villain from her POV, rather than a male-driven hero’s journey. I wanted to re-envision her as a sexy, powerful academic, who refuses to take shit from anyone. After all, historically what we call a witch is just someone society has decided it’s scared of, and what could be scarier than a powerful, sexual, brilliant older woman living by her own rules?

3. The female characters in Yaga are surprising, full of complexities, and not always ethical. How do you create such dynamic characters? Where does your inspiration come from?

I spent much of my early career trying to write in a style that appealed primarily to straight me, modelling my work on violent and sexy male-driven television shows, trying to shy away from writing funny, powerful women because I thought it would intimidate audiences. Now, I really love creating complex female characters, especially older ones, because I think that subsect of society and

History of the Kokum Scarf

The impact of war in Ukraine has broken the hearts of all communities across Canada. We feel the anguish and sorrow of Ukraine and her people but have been encouraged by the unity and camaraderie of supporters across cultures.

The beautiful Kokum scarf is a historical symbol of strength, friendship, unity and respect.  In Ukrainian the scarf is called a hustka and in Canada is known as babushka meaning Grandmother. Ukrainian immigrants shared them with the Cree, who called them “kokum,” a Cree word for “grandmother.”

Ukrainian settlers came primarily to the prairies.  They were excellent farmers and courted by the government to break new land for feeding the growing nation.  They were looked down upon by other European settlers but welcomed and aided by First Nations.  The story goes that the scarves were gifted by Ukrainians to Indigenous Peoples to thank them for guidance, help and medicines that were shared with the settlers to help them survive the harsh winters.  The Kokum scarf has been incorporated into First Nations cultures across Canada and is worn as a sign of solidarity and historic relationship.

Why I Chose This Play

Kat Sandler is a particularly smart and cheeky writer. Her plays feel modern, and her ideas are unique. She explores topics and themes that are completely her own—she is a true original. And this play— so different from her previous writing—is a thrilling mix of murder, mystery, and myth—expertly woven together into a dazzling whole.

What thrills me most of all is that women are centred in this play. Kat has written a play that spotlights the power, the strength, and the intelligence of women. And that’s why I chose this play: to celebrate, in Kat’s words, “wise, witchy, powerful women everywhere.”

—Michael Shamata, Artistic Director

Tickets 250-385-6815 / tickets.belfry.bc.ca

culture is woefully unexplored. A mentor said once to me, “There’s a period of time in a woman’s life when you just become invisibleyou’re not a mother, or a sexual object, so what are you, a crone?”. That became a line in Yaga.

My inspiration also comes from the incredible women in my life and in our industry. There are so many brilliant “older” female actors, who have such an epic wealth of experience, both professional and lived, and as I get older myself, I want to focus more on their (and my!) stories!

Cast & Creatives

Nicholas Nahwegahbow RAPP AND HENRY

Tracey Nepinak YAGA AND OTHERS

Anastasiia Ziurkalova DETECTIVE CARSON AND OTHERS

Jani Lauzon DIRECTOR Stephanie Bahniuk SET DESIGNER

Kat Sandler PLAYWRIGHT

Ksenia Broda-Milian LIGHTING DESIGNER

Jeff Chief COSTUME DESIGNER

Wayne Kelso SOUND DESIGNER AND COMPOSER

Grace Carmichael APPRENTICE STAGE MANAGER

Bradley Dunn STAGE MANAGER

Treena Stubel INTIMACY DIRECTOR

Diana Budiachenko CULTURAL ADVISOR AND DIRECTING INTERN

Simon Fon FIGHT DIRECTOR

Pati-Ann Lawe, Ukrainian Canadian Cultural Society Board Member

LIVE & VIRTUAL EVENTS

Belfry Librarian

The wonderful librarians at the Greater Victoria Public Library have compiled a list of books and videos to help you get even more out of our production of Yaga.

B4PLAY (IN-PERSON + ONLINE)

BMO Studio, 1291 Gladstone Avenue

SATURDAY, SEPTEMBER 9 AT 11 AM

Our live talk show hosted by CBC Radio’s Gregor Craigie and featuring artists from the upcoming show, along with experts from the community, has been designed to provide insight into each Mainstage production.

Panelists include members of the cast and creative team of Yaga and community experts Megan Swift (Professor of Russian Studies at the University of Victoria), and Nicole Mandrik (a multidisciplinary artist of Anishinaabe Irish and Ukrainian decent).

Each event is held the Saturday before Opening, is free to attend, live streamed on Facebook, and is available as a podcast on our website.

B4Play is ASL Interpreted.

AFTERPLAY

FRIDAY, SEPTEMBER 29 AND FRIDAY, OCTOBER 6, 2023. The opportunity to discuss a piece of theatre after you have seen it can enhance your experience of the play.

As the Belfry produces engaging theatre that often grapples with significant issues, audience members often want to ask each other what they thought about certain ideas or a character’s reaction to a challenging situation.

Afterplay is hosted by a community facilitator, but they are not there to answer questions or to offer expert information. The goal of Afterplay – and the thrill of it – is that the conversation is audience-to-audience.

Note: For the 2023-2024 Season, Afterplay will be taking place during Community Theatre Night.

TALKBACK THURSDAY

(In Person)

THURSDAY, SEPTEMBER 28 FOLLOWING THE PERFORMANCE

On the third Thursday performance during the run of each show, most (usually all) of the actors return to the stage to answer your questions and provide insight into the play you have just experienced. These Q & A sessions last approximately 20 minutes.

VOCALEYE

SUNDAY, OCTOBER 1

For patrons with low or no vision, we offer one VocalEye performance during most Mainstage productions. Trained Audio Describers provide descriptions of the visual elements of the show, allowing people with low vision to enjoy the theatrical experience without missing any of the details. More information at the Box Office.

Baba Yaga Laid an Egg by Dubravka Ugrešić (2010)

Bang Bang by Kat Sandler (2019)

Finding Baba Yaga: A Short Novel in Verse by Jane Yolen (2018)

Good and Mad: The Revolutionary Power of Women’s Anger by Rebecca Traister (2018)

How to Write a Mystery: A Handbook from Mystery Writers of America by Lee Child, editor (2021)

Initiated: Memoir of a Witch by Amanda Yates Garcia (2019)

Kamloopa: An Indigenous Matriarch Story by Kim Senklip Harvey (2019)

Manifesta: Young Women, Feminism, and the Future by Jennifer Baumgardner and Amy Richards (2020)

Gail Bowen on Writing Mysteries by Gail Bowen (2018)

The Witch and the Tsar by Olesya Salnikova Gilmore (2022)

Tough Mothers: Amazing Stories of History’s Mightiest Matriarchs by Jason Porath (2018)

Witches, Sluts, Feminists: Conjuring the Sex Positive by Kristen J. Sollée (2017)

Witches: The Transformative Power of Women Working Together by Sam George-Allen (2020)

Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés, Ph D. (1997)

Our round-up of events happening at the theatre over the next four weeks.

SPOTLIGHT ON SUPPORTERS: Lynne Bain & Robert Moyes

This Victoria-born and -raised cultural power couple has been there from day one, attending our first production, Puttin’ on the Ritz, in 1976. Lynne and Robert met through Monday Magazine, where Lynne was an advertising representative and Robert a writer, both on the arts beat. As Monday became a very early and longtime sponsor of the theatre, Lynne and Robert quickly found themselves enjoying opening night outings. Over the years, they have delighted in seeing the theatre dramatically evolve, from its extensive lobby and building renovations, to adding a trap door beneath the stage and, later, introducing a revolving stage. They have also followed the tenure of all the Belfry’s talented artistic directors.

Given this impressive history, when asked about some of their favourite Belfry memories, it’s not surprising they produce a list of past productions longer than anyone else I’ve interviewed yet. The Harold Arlen musical revue Come Rain or Come Shine that was conceived by Don Shipley and starred Louis Rose is on the list, as well as the popular Wingfield series with Rod Beatty, and the spirited Two Pianos Four Hands.

They recall sitting at home one November evening wondering if they were really in the mood for going out to see yet another production of A Christmas Carol. But they were sure glad they roused themselves when Michael Shamata’s inspired and lavish adaptation turned out to be “astonishingly brilliant” (and have since returned to enjoy all the subsequent Christmas Carol productions). God of Carnage and the infamous vomit machine that former Belfry Technical Director Greg Smith pioneered, also stands out as a memorable experience.

In about 2010 Robert received a phone call from former (now Honorary) Board member Sherri Bird, encouraging him to become the wine writer for what was to become the Belfry’s annual Crush fine wine auction fundraiser. For well over a decade now, Robert has good naturedly toiled as a highly skilled volunteer for the theatre. He loves learning new things about wine and finds a creative outlet in playfully writing about suave Bordeaux and broad-shouldered California Cabernets to help raise those much-needed funds each season. (Watch for a variation on the auction available for online bidding November 13-19: Crush Plus)

They have also enjoyed socializing at our special events and fundraisers. Sherri Bird’s name comes up again as Robert recalls watching Nicola Cavendish perform Shirley Valentine in Sherri’s kitchen as well as on a large rock on property grounds, which stood in for Greece. Without any rehearsal time, Nicola not surprisingly “went dry” and had to call for one of her lines mid-soliloquy; the forgotten line was then heard emanating from behind a closet door in Sherri’s kitchen, where a hidden volunteer had been seated with the script, flashlight in hand. This story is actually almost a good metaphor for what Robert was cast to do for the theatre: although not in the limelight, he is a silent partner who certainly helps make our fundraising work both possible and professional.

Lynne’s parents Jean and Archie Bain were huge contributors to the arts in Victoria, and her father was very active performing in community theatre. Lynne, who started out in a business sponsor relationship with the Belfry, let us know a few years ago that she was a Belfry Legacy member, as she had already made arrangements to include the Belfry in her estate plans. “The Belfry has been very good to me and is a great cultural institution,” she says. “This theatre has been a huge part of my life for 40-plus years, and I have always believed that giving back is very important.” Lynne was obviously influenced by her late parents. Even though Jean was a full-time social worker and Archie pioneered the cultivation of exotic plants in Victoria, they both made time to centre the arts very much in the lives of their family.

Robert and Lynne remind us that the arts are what civilized society offers to make life meaningful. They speak for all of us when they point out that in the big picture, “Life without the arts is unimaginable.”

When the Belfry turns 50 years old (!) in the 2025/26 season, it’s supporters like Lynne and Robert who are ideally positioned to really celebrate the fullness of experiencing a half-century of theatre in Victoria with us! Wait a minute, does this mean they too have a personal 50th anniversary to look forward to soon? Something else to ask them at the theatre…

—Susan Stevenson, Director of Development.

To find out about legacy giving or other ways to support the Belfry, contact Susan.stevenson@belfry.bc.ca 250-385-6835 ext. 229.

Belfry Supporters Lynne Bain & Robert Moyes at Il Terrazzo Restaurant

Yaga

September 12 – October 8, 2023

Tuesdays – Thursdays at 7:30 pm

Wednesday Matinees at 1 pm (September 20, 27 and October 4)

Fridays & Saturdays at 8 pm

Saturday Matinees at 4 pm

Sunday Matinees at 2 pm

Audience Engagement Schedule

B4PLAY (In-person + Online)

Saturday, September 9 at 11 am

AFTERPLAY

Friday, September 29 and October 6

TALKBACK THURSDAY (In Person)

Thursday, September 28 following the performance

VOCALEYE

Sunday, October 1 at 2 pm

How to buy tickets

DECEMBER 2 – 23, 2023 – HOLIDAY SHOW