Upstage Magazine - Maanomaa, My Brother

"a gift for all lovers of

Hello!

Welcome back to the Belfry and the second half of our 50th Anniversary Season. In February, our month-long presentation of Maanomaa, My Brother (My Bird, My Brother) starts.

Blending styles of West African and Canadian theatre, Maanomaa, My Brother mixes myth with reality, and the past with the present.

Actors (and creators) Tawiah M’Carthy and Brad Cook are both making their Belfry debuts in this presentation.

And we are thrilled to welcome award-winning director Philip Akin to the theatre.

We look forward to seeing you soon.

Land Acknowledgement

The Belfry Theatre is on the land of the People, known today as the Songhees and Kosapsum 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

Join Us instagram.com/belfrytheatre facebook.com/belfrytheatre vimeo.com/belfrytheatre twitter.com/belfrytheatre (In-person + Online)

SATURDAY, JANUARY 31 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.

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.

To reserve free tickets, please call our Box Office at 250385-6815.

BELFRY THEATRE

WWW.BELFRY.BC.CA 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.

1291 GLADSTONE AVENUE

VICTORIA, BC

V8T 1G5

Maanomaa, My Brother is generously supported by

250-385-6815 / tix.belfry.bc.ca

Upstage is supported by

Making Theatrical Ghee:

In Conversation with Philip Akin & Aldrin Bundoc

By Aisling Murphy

When Philip Akin agreed to direct Maanomaa, My Brother, the poignant, riveting new play by Tawiah M’Carthy and Brad Cook at Canadian Stage, he didn’t read the script first.

“I didn’t have to,” he said over Zoom. “Tawiah called me up, and he said, ‘Hey, I’m doing this thing, and I’ve written it with Brad, and I want you to direct it.’ I asked about dates, and that was that. I said yes because he asked me – the thing that drew me to this project was specifically Tawiah.”

That may seem like a surprising answer to the question, “Why did you want to direct the world premiere of this play?,” but in truth, Maanomaa is a surprising project. Weaving together Twi and English languages, and cultivating an aesthetic style somewhere between dance and physical theatre, the play is both fiercely personal and curiously abstract, a meditation on grief and diaspora between two childhood friends, played by M’Carthy and Cook.

Maanomaa, My Brother takes place in Ghana, meaning the creative team had to carefully consider a range of stylistic choices, from costuming to dialects to music. How should Cook, who is white, portray Black characters (the play is a two-hander with a multitude of characters), for instance? And how could aesthetic details be used to suggest childhood versions of the men onstage? By the time Akin had stepped on as director, much of Maanomaa, My Brother was

already set in place. But joining the team late was a rewarding part of the challenge, he said.

“A huge amount of work had already gone into [the production], and there were concepts in place,” he told me. ”My job was to clarify things. To make things clearer. To look at what was accepted knowledge and practice within the rehearsal hall, and challenge that. Because, frankly, a lot of times, especially with a process that’s gone on this long, there’s just things that become accepted. And it’s my job to ask, ‘Why?’”

One instance of this sort of “editing,” said Akin, was pre-recorded speech, which M’Carthy and Cook intended to pipe into the theatre in darkness during the show. Akin had other ideas.

“That’s stupid,” he said, laughing. “Why are we doing that? And they said, ‘Well, we’re doing that because we want to do that.’ And I said, ‘Okay, fine, but who wants to sit in a room of live theatre and listen to someone talk over the speaker in the dark?’ That’s not theatrical. That’s not engaging.

“I came to Maanomaa to challenge precepts, not to get my own way all the time, because that’s not the point. The point is to have these conversations, to bring a fresh eye, and to be very, very clear, down to the word, about what’s being said, and if what’s being said is what’s meant to be said. This wasn’t about building a big, philosophical

overview. It was about putting a magnifying glass on what the story was.”

Akin has a metaphor he uses for that clarifying process.

“I eat butter,” he said. “But if you go to Little India, you can buy a jar of ghee. And what’s that? It’s clarified butter. It’s butter with all the solids taken out of it that could go bad. So, ghee can stay on your shelf for months and months. So, I think of myself in this process as the guy making theatrical ghee.”

Akin is not, in his words, “a big believer in sitting around the table,” so when he starts a rehearsal process, it’s standing up, playing, searching for kernels of truth in the body as well as the mind. That’s where the “ghee” comes in.

The prolific director didn’t work alone on this clarifying process –he had an assistant director, Aldrin Bundoc.

“I bully him mercilessly,” said Akin. “And it’s been great. We’re at different stages of creating our directing processes, which means cultivating our own artistic voices, how we approach things, how we see the world.”

“It’s been a really fun process,” said Bundoc. “Philip has this way of creating a lot of levity in the room. He doesn’t bully me,” he added, laughing. Bundoc first joined Maanomaa, My Brother as an assistant movement director – a huge job, given the physical demands of the play.

“I came into this wanting to strengthen my voice as a creative, from an angle that isn’t as an actor. I’m an actor, and that’s always been my access point to creating. But to be a fly on the wall, sitting behind Philip and seeing what he’s doing, is really cool.

“What’s beautiful about this piece is that there’s so much story that isn’t told through words, it’s told through movement,” continued Bundoc. “Yes, there was a lot of dramaturgy work to make things fit. But it feels like that process has been effortless on Philip’s end. And that’s really, really wonderful to watch.”

“We’re just trying to tell a story,” said Akin. “And that’s really, really simple. It’s a human story. If I can keep coming at it from the point of view of these human beings telling a story touching other humans, then I don’t actually have to worry about everything else.”

Aisling Murphy is the theatre reporter for The Globe and Mail. Prior to joining The Globe in 2025, she was the senior editor of Intermission Magazine, and a freelance culture journalist with bylines including the Toronto Star, CBC Arts and the New York Times. She lives in Toronto.

Cast & Creatives

Why I Chose This Play

The play is a beautiful tale of friendship and reconciliation. The story is told through a magical mix of dialogue and movement—each as important as the other. The production is simple and profound—and unlike anything seen on our stage in a very long time. The performances by playwrights Tawiah M’Carthy and Brad Cook are fun and engaging and moving. The overall result is an event that feels both fiercely personal and curiously abstract.

—Michael Shamata, Artistic Director

LIVE & VIRTUAL EVENTS

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

B4PLAY (IN-PERSON + ONLINE)

BMO Studio, 1291 Gladstone Avenue

SATURDAY, JANUARY 31 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.

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.

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

TALKBACK THURSDAY

FEBRUARY 19, FOLLOWING THE PERFORMANCE

Following the third Thursday performance of each show, 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

FEBRUARY 22 AT 2 PM (IN-PERSON EVENT WITH TOUCH TOUR & SOCIAL AFTER)

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. Touch tours are available following the performance. More information at the Box Office 250-385-6815.

Belfry Librarian

A selection of books and movies inspired by the Belfry Theatre’s presentation of Maanomaa, My Brother.

An African history of Africa: from the dawn of humanity to independence by Zeinab Badawi

Anansi’s gold: the man who looted the west, outfoxed Washington, and swindled the world by Yepoka Yeebo

Big friendship: how we keep each other close by Aminatou Sow

Ghana to the world: recipes and stories that look forward while honoring the past by Eric Adjepong

Good friends: bonds that change us and the world by Priya Vulchi

Homegoing by Yaa Gyasi

Maame by Jessica George Nakom by T. W. Pittman

Nightbloom by Peace A. Medie

No one dies yet by Kobby Ben Ben

Understanding your grief: ten essential touchstones for finding hope and healing your heart by Alan Wolfelt

Inspiration 101

How an idea sparked nearly 30 years ago has evolved into the Belfry’s most quietly successful program, Belfry 101.

By John Threlfall

Longevity is surely one of the best measures of success — especially when you’re an organization like the Belfry that is built upon shortrun projects: holding a hit show over for an extra week is great, but it’s nothing compared to a three-decade run of a project that has inspired generations of teenagers. Such is Belfry 101, the annual high school training program that offers young people the chance to learn from theatrical professionals and, in many cases, encourages them to develop their own professional careers.

“It’s amazing what teenagers can achieve when given the space to be creative,” says current B101 coordinator Dave Morris. “They have this perfect mix of hope and inexperience, and they’re full of great creative ideas . . . watching them grow and learn and create art is such a beautiful, fun experience for me. That’s what keeps me coming back.”

Perhaps best known locally for his improvisation work with Paper Street Theatre, Morris has been leading B101 for the past 10 years but shares credit for its success with some of Victoria’s leading theatrical professionals, including the likes of Monica Prendergast, Kate Rubin, Erin Macklem, Joel Bernbaum and Nicole Malcolm. To date, about a thousand grade 10-12 students have participated in the incredibly affordable program — just $75 for eight months (bursaries also available) — which includes entrance to every mainstage production plus pizza dinners.

“It’s remarkable! I couldn’t be more delighted with its success,” says Prendergast, who helped grow B101 from a late-1990s grant proposal by former Artistic Director Glynis Leyshon and longstanding Director of Marketing & Communications Mark Dusseault into a signature program that directly engages youth with

the creative talents behind mainstage productions, including talkback sessions, script and social impact analysis, and collective creation projects which are then publicly presented as Belfry 101 Live!

“The talkback sessions alone were golden,” says Prendergast, whose experiences in Artistic Director Roy Surrette’s era went on to form the basis of her Master’s thesis. “My only regret is that I never recorded those: the kids just were so excited about seeing a professional production — for many of them, it was the first professional theater they’d ever seen.”

Laura Harris was a Belmont Secondary student back in 2002 when she signed up as one of Prendergast’s students. Now a US-based professional playwright, director and actor who has since performed at the Belfry’s SPARK Festival, Harris credits B101 with inspiring her career. “It taught me that I can write and perform my own work, which I’ve been doing since I graduated from theatre at UVic. It showed me that theatre isn’t just about being a performer, there are so many possibilities . . . and that’s a skill that can be transferred to any other career — it doesn’t have to be the arts.”

While there have been many B101 alumni who have indeed gone on to arts careers — local Fringe Festival favourite Rod Peter Jr., Juno Award-winning composer Martin MacPhail (“it was a formative experience which made a career in the arts seem reachable”), Ronnie Burkett puppet creator Marcus Jamin, UK-based actor Samuel Walmsley-Byrne — for others it was a springboard to greater selfawareness.

“I was a really anxious kid and Belfry 101 gave me the chance to express myself, make friends and gain confidence,” says Antonia

Neatby (’15/’16). “I was actively struggling with OCD at the time, which very few people knew about, and the work we did let me get out of my own head. I’m really, really grateful.” Local youth educator Jessica Burdge (’14/’15) says it had an influence on her wanting to teach secondary school, and recent UVic theatre graduate Bill Allen sees his B101 experience (’17/’18) as directly leading to his current path. “Every skill I employ in my theatre art now was formed through this program in one way or another, and continues to be built upon as I write, direct and perform my own work,” he says.

Local playwright Nicholas Guerreiro just saw his latest work, Hapax Theatre’s Hidden People, have a sold-out run in the Belfry’s BMO Theatre in December 2025. Also, an actor and coordinator for the BC Legislature’s Parliamentary Players program; he did two successive years in the program (’12/’13) before graduating from Mount Douglas. “Belfry 101 was a formative experience for me,” he recalls. “I remember Michael Shamata complimented one line I had written for our show: I don’t remember the line, but I do remember the compliment — it made me feel that someone was actually interested in what I had to say theatrically.” (Interestingly, Guerreiro brothers Aiden and Jaren then went on to enroll and have both become theatrical professionals themselves.)

Kate Rubin, coordinator for eight years after Prendergast, feels the unique mix of students and professionals is the program’s core strength. “I really like that aspect of melding the actual artists they’re about to see in the shows with the teens, who are often looking for inspiration and people doing innovative work,” she says. “I’m heartened that it’s continuing, that the Belfry still feels it’s important to have that connection with youth and build their creative development, which will help them in whatever context they find themselves. It’s a beautiful chance for people to cross different landscapes together and have conversations that you don’t often get — especially at that age.”

Ultimately, current coordinator Dave Morris feels Belfry 101 is one of the most inspirational projects he’s ever been involved with. “It’s been this quiet thing at the Belfry for years now — it’s not something they really shout from the rooftops — but it’s always happening and is a really wonderful entrance into Victoria’s greater theatre community,” he concludes. “I think it’s the best program for youth who want to do theatre. I wish this existed when I was in high school!”

If you know a high school student who may be interested in participating during the 26 – 27 Season, contact the Belfry 101 coordinator at b101@belfry.bc.ca.

Belfry 101 is supported by the Potash Family Foundation.

John Threlfall is a local writer and longtime theatre advocate who also wishes a program like Belfry 101 existed when he was in high school.

Maanomaa, My Brother

PERFORMANCE SCHEDULE

February 3 – March 1, 2026

Tuesdays – Thursdays at 7:30 pm

Friday & Saturdays at 8 pm

Wednesday Matinees at 1 pm (February 11, 18 and 25)

Saturday Matinees at 4 pm

Sunday Matinees at 2 pm

Audience Engagement Schedule

B4PLAY (In-person + Online) Saturday, January 31 at 11 am

TALKBACK THURSDAY (In Person) Thursday, February 19 following the performance.

VOCALEYE Sunday, February 22 at 2 pm (in-person event with Touch Tour & Social after)

How to buy tickets

Please have your credit card ready, as well as the date and time of the performance you wish to attend.

tix.belfry.bc.ca and buy your tickets online, anytime. In person Drop by our Box Office. We accept Visa, Mastercard, American Express, debit card, cheques, and cash.

UP NEXT:

MARCH 10—22, 2026

WRITTEN & CREATED BY MATT BARAM & NAOMI SNIECKUS

MAANOMAA, MY BROTHER

PUBLIC FUNDERS

CO-CREATED & DIRECTED BY KAT SANDLER

MARCH 10—14, 2026

CREATED, PERFORMED & DIRECTED BY KEVIN MATTHEW WONG

SEASON SPONSOR & ACCESS PARTNER:

SEASON SPONSORS