Beowulf in Afghanistan Poster

Land Acknowledgement

The GCTC staff, board, and volunteers acknowledge that we are privileged to work, create, play, and live on the traditional unceded, unsurrendered territory of the Anishinaabe Algonquin peoples, who have been and continue to be the keepers and defenders of this land and these waters, from time immemorial.

We would like to take this time to show our gratitude and respect to them, and to the land and water for all that they provides us.

Director’s Note

“Stories passed down through the generations tell us how we became who we are, what it is to be human.”

This is a story of survival.

Second Lieutenant Grant Cleary is heading back to Kandahar Airfield in a convoy. He is reading aloud from what has become his anchor in Afghanistan: a copy of Beowulf given to him by his Literature professor, Louise Flynn, back when he was an undergrad. Before 9/11. Before the war. Before deployment. When an unexpected event threatens Grant’s life, he is thrust into the world of his own mind as his reality collides with the mythic world of Beowulf.

This play explores the idea that war is inescapable, even inevitable. Waging war is a uniquely human act, but does that mean it is part of what it means to be human? We say history is written by the victors, but are there any true victors in war? The battle rages on today for Afghans, who are once again living under Taliban rule and continue to persist despite a seemingly unending attempt to oppress them and their way of life.

Each generation is shaped by their own unique experiences. We derive new meaning from what is relevant and important in our own time and place in the world. When our characters begin to regard a previously two-dimensional enemy as human instead of monstrous, it forces them to question everything they thought they knew about the poem, the nature of war, and each other.

Kate Smith

Playwright’s Note

Beowulf In Afghanistan tackles the myths that embellish both hero and opponent. Beowulf is a man of superhero strength and Grendel and Grendel’s nameless mother his monstrous adversaries. The poem repeats recognizable mythic patterns; our opponents are sub-human, monstrous in what they inflict, and we put our faith in heroes, individuals imbued with courage beyond the grasp of ordinary mortals.

We are all caught in the gyre of war, and never wise enough to acknowledge the inevitable reckoning with history that is demanded of us as we reach again and again moments of crisis. When will we open our eyes and truly see the men and women who return with the invisible scars of battle, and the plight of the innocent left to bury their too soon dead.

When Beowulf was written there was of course no war in Afghanistan, so there are no direct correlations between the poem and a complex modern conflict. Audiences will perceive connections as a result of their knowledge, loyalties, perceptions, or lived experience. But as Grant views an ancient world through a modern lens he becomes Beowulf and in the warrior’s moment of triumph discovers a fatal flaw in the hero myth.

War in the 21st century yields few victories. The lesson of history over centuries of conflicts bleeding into each other is that the more proficient we are at fighting wars the greater the indiscriminate and irreparable damage inflicted on us all. If we learned better how to avoid war, we might yet achieve victory over the dragon. Instead, we feed our dragons the oxygen of our animosities and in return they breathe fire.

Laurie Fyffe

Playwright’s acknowledgments & thanks:

My sincere thanks to GCTC for the Tributary Project, Sarah Kitz for her excellent dramaturgy, and Kate Smith for her inspired direction. A sincere thank you also to Axandre Lemours, Damien Brooms, Julie LeGal, Lydia Talajic, Horseshoes & Hand Grenades Theatre, Thousand Islands Playhouse, Ontario Arts Council, Dr. Mark S. Sundaram, Greg Fyffe, and Robert Blackburn.

Artistic Director’s Note

A black and white photo of a person, Sarah, who has their hands on their knee, one crossed over the other. They are wearing a polka dotted button up shirt and have curly hair. They are looking intently at the camera.

When I first read an early draft of Laurie Fyffe’s Beowulf in Afghanistan it was as a submission to GCTC’s Tributary Project, a new initiative focused on developing locally made work for GCTC’s mainstage. The jury and I were struck by Laurie’s gorgeous use of language while grappling with ideas of war, empire, the stories we tell about ourselves, and the propaganda of foundational documents.

We developed Laurie’s play for this stage with rigor and care, looking to ask incisive questions and create an experience for the audience that mimics Grant’s own experience of disorientation. We took a linear story and fractured it into pieces, then puzzled them back together in a different order.

Laurie built a literary mystery into this play, which I find incredibly satisfying. First, she takes us into the world of the mythic unconscious, where our fears manifest as monsters to be slain. This makes sense as a personal symbolic struggle, but what does it mean when we are awake? What does it mean when a nation state categorizes others as monstrous? Here we have a text, Beowulf, that undergirds the first part of the play and acts as a map for Grant to find his way out of a near death experience with Louise as his guide. Then in the second act they take the Beowulf text to task, revealing a possible cover up. First we look at monsters, and then we look again to see who is behind the mask of the monster. And finally we must ask, who is authorized to say who a monster is?

This world premiere production has been shepherded at every level by the work of local artists. It is a continuation of GCTC’s 50th Season, celebrating the vivid art made in this community.

Enjoy the show,

Sarah Kitz

Cast & Creative Team

Beowulf in Afghanistan
by Laurie Fyffe
directed by Kate Smith

Cast:
Micah Jondel DeShazer | Grant Cleary
Michelle LeBlanc | Louise Flynn

Production Crew:

Kyle Ahluwalia | Technical Director, Lighting Operator

Stephanie Dahmer | Head of Props & Head Scenic Painter

Vanessa Imeson | Head of Wardrobe

Eric Neill | Assistant Technical Director, Head of Carpentry, Running Crew

Josephine Trudel | Assistant Technical Director, Sound Operator

IATSE Technicians | Alexandre Perrotin, Andrew Strober, Bob Lacasse,Chris Callendar, Jeff Manning, Paul Neill, Tristan Beavan

Special thanks to Tom Niederhauser, Jacques Critchley, and Dr. Mark S. Sundaram.

Please Note

Beowulf in Afghanistan is approximately 2 hours long, plus a 20-minute intermission.
The use of personal cameras or recording devices in the theatre is strictly prohibited.
Cell phones and electronic devices must be turned off.
Please don't walk in the performance area of the stage.
For content notes, please visit the box office or bar for a copy, or visit our website here.

Enjoy the Show!

Acknowledgements

The Great Canadian Theatre Company engages members of the Local 471 of the International Alliance of Theatrical and Stage Employees.

GCTC acknowledges the support of the Ontario Arts Council (OAC), an agency of the Government of Ontario, which last year funded 2,149 individual artists and 1,043 organizations in 219 communities across Ontario for a total of $53.3 million.

GCTC engages, under the terms of Canadian Theatre Agreement, professional artists who are members of the Canadian Actors' Equity Association.

Synopsis

ACT ONE

Grant is injured while on active duty in Afghanistan. While in an altered state of consciousness, he imagines himself in conversation with his former professor, Louise, who taught him the medieval text of Beowulf. Grant must live through Beowulf’s journey with Louise as his guide if he hopes to survive his injury and make it out of the desert alive. This journey includes slaying two monsters: Grendel and Grendel’s Mother.

ACT TWO, Scene One

Years later Grant is attending an academic conference where Louise presents a talk on Beowulf.

ACT TWO, Scene Two

After the conference Grant and Louise meet in her office. Grant reveals the theory of his PhD thesis to Louise and the two scholars match wits.

Content Notes

Please be advised that this show uses a strobe lighting effect in Act 1. This effect is used at approximately the 20-minute mark and lasts for about 2 minutes.

Content notes provide more details about what to expect. If you would like to know more about this show's content before attending, please ask at the box office or at the bar for detailed content notes, or visit our website here.

The Company

A white-presenting person sits among several keyboards and musical scores looking up towards the camera

Ali Berkok: Sound Design

Ali Berkok is a pianist, composer and sound designer. Among his credits are What I Call Her (Crows), Unsafe (Canadian Stage) and Shorelines (TACTICS). Beowulf in Afghanistan is Berkok's 4th design with GCTC. He has produced six albums as a leader, including two for electroacoustic outfit Aurochs, and a solo piano album, Never Get Lost for Long, which features reinvented jazz standards such as “Cheek to Cheek,” and Coltrane's “Giant Steps,” as well as spontaneously extemporized compositions. Chief amongst his music research interests is polytemporality, the simultaneous presence of two or more asynchronous rhythmic layers. Berkok holds a Doctor of Musical Arts degree from the University of Toronto.

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Ava Alavi: Assistant Director

Ava Alavi, originally from Iran, is an enthusiastic artist with degrees in Film Studies, Dramatic literature and Theatre Directing. She has a 15-year career in acting and directing, focusing on themes of women, childhood, and motherhood, especially in the context of home. In Canada, she teaches theatre to children, including those with autism, supporting their emotional expression. Her work is both personal and socially resonant, reflecting her passion for storytelling and human connection.

The photo depicts a white female presenting person with round features, long brown hair and brown eyes wearing a burgundy shirt with lace sleeves.

Bonnie Garland: Costume Design

Bonnie Garland (She/They) is an emerging costume and scenic designer based in eastern Ontario. She loves theatre design, and their interest in sustainability has also led her to delve into ecoscenography. Bonnie is a recent MFA graduate at the University of Calgary with a Design / Technical specialization, and alumni of the renamed Toronto Metropolitan University with a BFA in Performance Production.

Jackie McCormick: Stage Manager

Jackie is a Stage Manager who’s happily called Ottawa home for ten years. She was most recently the SM for NAC English Theatre’s Irresistible Neighbourhoods: Walking on Water - featuring two live radio plays: cicadas and The Woman of One Thousand Years (soon to be distributed as a podcast). This year she also was the Stage Manager for NAC’s English Theatre’s Irresistible Neighbourhoods: Ottawa 2044, the live-readings of Twisted and Brotherhood: A Hip Hopera as part of the NAC Hip Hop Festival, and for the GCTC / NAC Indigenous Theatre / Native Earth Performing Arts production of Women of the Fur Trade for both the Ottawa and Toronto run. Jackie was the SM for The Supine Cobbler and The Unplugging for GCTC last year and has Stage Managed over forty productions at Upper Canada Playhouse in Morrisburg, most recently Perfect Wedding. Big thanks and much love to her family:
J, Q & B.

A caucasian man in pink denim shirt with a grey door behind them

John Doucet: Set Design

John is an award-winning Ottawa set designer. Originally trained as an actor at Studio 58 in Vancouver, he slowly shifted to set design. After working for nearly every professional company in Ottawa, his design work has taken him to Victoria, Moncton, and a remarkable experience in Kinshasa (DRC). Next up is an international tour for the NAC Indigenous Theatre’s inaugural production of Little Red Warrior and His Lawyer, a Premier for Theatre Calgary and a King Lear adaptation in Montreal.

John also has explored art installations (Projet Arbres) and building furniture out of repurposed wood. He is an associate artist at Rouge Écarlate, and teaches at the Theatre Department of the University of Ottawa. www.johnddoucet.com

A white woman with blue eyes and short brown hair smiles at the camera with one eyebrow raised and without showing her teeth. She is wearing dangly blue earrings and a light blue shirt against a dark blue backdrop.

Kate Smith: Director

Kate Smith (she/her) is an award-winning theatre creator, director and performer. She is Artistic Director of a Company of Fools. Kate holds an MFA in Directing from the University of Ottawa, and a BA (Honours) in Theatre from Dalhousie University. Her recent production of Macbeth was nominated for Outstanding Production at the 2024 Prix Rideau Awards. For GCTC: Kate has directed several GCTC/CCLA Lawyer Plays including The Sting by David Ward. She performed as Maja in Blissful State of Surrender by Sanita Fejzić, and Ashley in The Virgin Trial by Kate Hennig. Selected directing credits: Macbeth by William Shakespeare (a Company of Fools), Machines and Moss by Sanita Fejzić (National Arts Centre), Deluge by Kate Smith & Scottie Irving (National Arts Centre), Me, Vivien Leigh and the Roller Rink by Lucy van Oldenbarneveld (undercurrents festival).

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Laurie Fyffe: Playwright

Laurie Fyffe’s plays have been produced at the Tarragon Theatre, Factory Theatre, Blyth Festival, and Theatre Kingston. Recent credits include: Exciting Cause with choreographer Allison Burns (TACTICS 2023) nominated for multiple Prix Rideau Awards, and The White Crocodile (Plan B), 2024 Ottawa Fringe, awarded Best In Fest. Other Ottawa Fringe productions include The Ring (Plan B, 2022); The Home Show (2017); and The Secret Life of Emily Frances (2015). Laurie is a member of the Playwrights Guild of Canada.

Martin Conboy: Lighting Design

Is a theatre designer who has worked across Canada, the US and in Europe. As theatre consultant he is responsible for designing at GCTC Ottawa, Canadian Aviation Museum's theatre, Algonquin College's 700 seat theatre, Arts Court–University of Ottawa development in Ottawa, Aurora Arts Centre, and Roxy Theatre Edmonton. Architectural lighting includes - Roy Thomson Hall and Massey Hall, Royal Conservatory of Music in Toronto, Canadian Embassy Paris. Martin is the co-creator of WW1 a projection Vigil 1914-1918 in Ottawa, Toronto, Halifax, Fredericton, Edmonton, Calgary, Canada House, Trafalgar Square London, and Cloth Hall, Ieper, Belgium. Martin is a member of RCAA.

An image of Micah, an African-American artist whose black hair is shaved close to the scalp. He is wearing a green long-sleeved bomber jacket, and is looking intently at the camera.

Micah Jondel DeShazer:

Grant Cleary

Micah Jondel DeShazer (he/him) is an internationally acclaimed performer, director, and arts administrator. Actively fostering empathy in the midst of the messiness and brilliance: Micah is beyond grateful to be returning to the GCTC stage and collaborating with the Beowulf team on such a striking work that begs us to widen our perspective and soften our hearts. He currently serves on the board of directors at Orpheus Musical Theatre. Cherished projects include: Tempest (Ariel/Caliban, Company of Fools), Snow in Midsummer (Assistant Director, Shaw/NAC), Heathers (Director, uOttawa Theatre), Puzzles (Co-director, Ottawa Fringe, 4 Prix Rideau nominations) & Native Son (Stray Cat Theatre, ariZoni, Best Actor).

Photo of a white woman with long brown hair and a subtle smile, facing the camera. She wears a black, mock neck top against a neutral gray background.

Michelle LeBlanc: Louise Flynn

Michelle is an Ottawa-based actor and voice artist with extensive stage and screen credits. Her theatre work includes Exciting Cause (TACTICS), The Norman Conquests (Plosive/SevenThirty), The Secret Life of Emily/Frances (The Cleopatra Conspiracy), The Comedy of Errors (Bear & Co.), Noises Off (Gladstone Productions), and over a dozen radio shows, such as Casablanca, It’s A Wonderful Life, and Winnie-the-Pooh (Plosive). She received a Prix Rideau Emerging Artist Award for The Good Father (SevenThirty) performed in the inaugural studio space at GCTC, and a Capital Critics Circle Best Actress nomination for her work in Two (100th Monkeys). Michelle also teaches at the Screen Acting Academy. Recent film/tv credits include We Are Zombies, Guibord s’en va-t-en guerre, and Street Legal.

Board and Staff

GCTC Board of Directors

Michael Aylward | Chair

Lucy Coren | Co-Vice Chair

Maya Fernandez | Co-Vice Chair

Carmelle Cachero | Secretary

Alison Lantos | Treasurer

Natasha Chettiar | Past Chair

Alison Spiers

Geneviève Therrien

Hoori Hamboyan

Jacqui du Toit

John Kirkwood

Krista El-Khoury

Mo Bakarat

Tara Paterson

Wendy Berkelaar

GCTC Staff (in alphabetical order)

Ana Clara Bouffard Lima | Front of House Team

Ana Lorena Fuentes Roman | Front of House Team

Ananya Antony | Front of House Team & Social Media Assistant

Billie Nell | Front of House Team

Caitlin Hart | Front of House Team

Carolina Gallegos | Fundraising & Membership Manager

Celina Hawkins | Company Manager

Chao Li | Ticketing & Business Systems Manager

Charlotte Stewart-Juby | Front of House Team

Drea | Access Manager

Eric Neill | Assistant Technical Director, Head of Carpentry

Hugh Neilson | Managing Director

Jake Nevins | Front of House Team

Jeremie Huot | Front of House Team

Julie Bica | Front of House Team

Kevin Waghorn | Production Manager

Kyle Ahluwalia | Technical Director

Kyle Cameron | Box Office Manager

Marianna Kokkinos | Front of House Team

Moksha Singh-Sharpe | Front of House Team

Natalie Joan MacLellan | Marketing & Communications Manager

Peter Russell | Front of House Team

Sara Bruton | Front of House Team

Sarah Kitz | Artistic Director

Sarah McKay | Assistant Box Office Manager

Selam Haile | Finance & Office Manager

Stephanie Dahmer-Brett | Head of Props & Head Scenic Painter

Valerie Josephine Trudel | Assistant Technical Director

Vanessa Imeson | Head of Wardrobe

Season Art by Jesús Rivera Zavala

Partnerships

Government Partners

In-Kind Sponsors

Foundations

CRABTREE FOUNDATION
Shannon Reynolds Memorial Endowment Fund
The Charles Dalfen Tribute Fund
Turnbull Family Community Building Foundation
The Wesley and Mary Nicol Charitable Foundation
The Margaret and Kenneth Torrance Family Fund

Membership Program Partners

Absinthe	Pho Van Van
Paradise Poké	The Momo Spot
Sanduk	The Royal Oak (Wellington West)

Director’s Circle

Director’s Circle members enjoy a deeper connection with our creative process through social engagement with artists and other members of the GCTC family. For more information, please contact: Carolina Gallegos, Fundraising & Membership Manager, 613-236-5192 ext. 226 or carolina@gctc.ca.

Director’s Circle Members

Alan Braideck

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Sharon Peake

Susan Prosser

Sylvia Shortliffe

Tamara Levine

* We honour the memory of our friend Nick Aplin, a passionate supporter of GCTC.

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Eliane Herz-Fischler

Elise Merrill

Erin Hanlon

Euphemia Johnson

Fran Pearl

Fran, Davina and Judi Pearl

Frances Isaac

Gerald Gagnon

Gerard Lavelle and Paul Shaub

Glen and Patricia Fox

Gord Powers

Heather Moore

Helen Apouchtine

Helen Pitt

Helen Witkowski

Helene Goulet

Hilary Clauson

Hilary Mcvey

Iain Moggach

Ian Ferguson

Indrani Laroche

Irene Sacharuk

Jackie McKeown

Jacquie Mansell

James and Emily MacLellan

James Taylor

Jane Breen

Jane Charlton

Jane Gardner

Jane Osborn

Jane Stewart

Jane Stott

Janet Laba

Janet Lett

Jannet Lea

Jardine Neilson

Jared Davidson

Jasmine Shaw

Jean McCloskey

Jennifer Howard

Jill Eady

Jill Moll

Jo-Anne D'Aoust

Joe Van Ryn

John Verdon

Josephine Wood

Judith Wiesinger

Julia Helen Beck

Julien Frédéric

Karen Jackson

Karen Tam

Karen Vandenhoven

Kate Schissler

Kate Smith

Kathy Mitchell

Kathy Saunders

Ken and Debbie Rubin

Kevin Bowrin

Kevin Matthew Wong

Krista El-Khoury

Kristen Dion

Lance Turek

Laura Evans

Laura White

Laurie Fyffe

Leanne Everett

Liane Gallop

Liliana Dalton-Wagner

Linda and David Wieland

Linda Dahms

Linda Paquette

Linda Rossman

Lorna Kingston

Louise Plouffe

Lynn Bernard

Lynn Slotkin

Lynn Thomson

M Sunahara

Margaret Bloodworth

Marianne Feaver

Marie Corriveau

Marielle Gallant

Marilyn Collins

Marilyn Minnes

Marion Perry

Marjorie Pettigrew

Mark Sullivan

Mark Young

Martin Redfern

Mary Collis

Mary Gick

Maureen Sly

Maxine Kossy

Megan Neil

Merredith MacLennan

Michael Hatfield

Michael Payne

Michelle Meyer

Michelle Yagi

Mike Carr

Mitzi Hauser

Molly Olshefsky

Nadia Laham

Nancy Laberge

Nancy Wheeler

Nancy Worsfold

Natalie Joan MacLellan

Naz Afsahi

Nicki Dunlop

Norm Filiol

Pari Johnston

Patricia Smith

Patty Deline

Pauline Heinonen

Peggy Stone

Peter Demski

Peter Sloan

Philippe Roy

Pierre Hughes

Pierre Simpson

Rachael Dean

Ray Besharah

Ray Fortin

Rebecca Tam

Renata Soutter

Renate Hayes

Rina Dalibard

Rob Stuart

Robert Borden

Robert Kendall

Robert Rahn

Roisin Osborne

Rolf and Verna Feldman

Roselyn Lilleniit

Roxanne Deevey and David P. Wright

Ruth Burnett-Cole

Ryan Selleck

Sarah Blumel

Sarah Speevak

Scott Isaac

Shane Parker

Sharon McCue

Sharron Hanna

Shawna Moore

Shelagh M'Gonigle

Shirley Anne Off

Spencer Henson

Stan Carlson

Stella Firko

Stephanie Lawrence

Susan and Richard Courville

Susan Clelland

Susan Kennedy

Susan Mickus

Susan Monaghan

Suzanne Schaan

Tania Levy

Tanya Novo-Verde

Ted Mann

Teilhard Paradela

Tony Horava

Trisha Cooke

Udo and Pauline Graefe

Vivian and Gordon Lee

Wendy Daigle Zinn

Wendy Sailman

Will Somers

William Beddoe

William Nelson