On May 12, 2013, ARC hosted a panel discussion to explore some of the difficult issues raised by BEA. The conversation was amazing, and was attended by members of the community, media, and politicians. We asked some of those in attendance to send us their thoughts on the show. This is what we they sent us:
Bea speaks to one of the great questions of our time. As fundamental a ‘good’ life is, when does an individual have the right to say “I had enough”? The intimacy of the space and the energy of all three performers grabs the audience and doesn’t let go.
-Wodek Szemberg, Producer of The Agenda with Steve Paikin
Bea is not just a play about assisted suicide. It’s a powerfully moving exploration of what happens when when we move from hearing to actually listening, from caring for someone to actually caring about someone, and from merely existing to being fully alive. It’s a wonderful experience.
- Ken Gallinger (Panelist), Ethicist, Toronto Star
Bea realistically reflects the physical, emotional, psychological and existential suffering that individuals experiencing progressive chronic illness as well as their loved ones face in Canada in 2013
- Dr. Sandy Buchman (Panelist), Palliative Care Physician and Education Lead at the Temmy Latner Centre for Palliative Care at Mount Sinai Hospital in Toronto.
Bea is a very powerful and moving presentation of issues important to all of us — about family relationships, how life ends, and who gets to decide about that. It will keep you thinking and talking about these issues long after. The acting is powerful and the play is terrific.
- Professor Joan Gilmour (Panelist), Osgoode Hall Law School
Why not see for yourself what people are talking about? BEA runs until May 26th at the Factory Studio Theatre. Get your tickets today!
Here’s another video featuring the actors and director of our new show, Bea. They’re talking about why people should come see the play. In short, because it’s a wrenching, beautiful exploration of a world and a condition most of us never experience.
Bea runs at the Factory Studio Theatre until May 26. Get your tickets today!
ARC is thrilled to be working with Community Living Toronto to present our first-ever “CLT Tonight”. At the May 14 performance of BEA, $10 from every ticket sold will go to support CLT’s ongoing work to change the lives of people with an intellectual disability by giving them a voice, and supporting their choices where they live, learn, work and play.
Community Living Toronto was formed in 1948 when parents lobbied for alternatives to placing their children with intellectual disabilities in institutions. Today, Community Living Toronto provides support to over 6,000 people and their families. We provide planning that is unique to each person, where people can explore resources in their community, try new activities form relationships and pursue their personal goals and dreams.
The May 14th performance of BEA is at 8PM at the Factory Studio Theatre. Get your tickets here. It’s a great show for a great cause!
ARC is pleased to present a panel discussion on BEA, on May 12, 2013 in the Factory Studio Theatre.
BEA raises difficult ethical and moral issues, such as patient’s rights and assisted suicide. The panel will provide a forum for our audience to explore and engage with these issues, with the help of our distinguished panelists.
- Professor Joan Gilmour (Osgoode Hall Law School, York University) teaches Health Law, Legal Governance of Health Care, Torts, and Disability and the Law at Osgoode Hall. She is past Director of Osgoode’s Institute for Feminist Legal Studies, and past Associate and Acting Director of York University’s Centre for Health Studies.
- Dr. Sandy Buchman (Mount Sinai Hospital) is a Palliative Care Physician and Education Lead at the Temmy Latner Centre for Palliative Care at Mount Sinai Hospital in Toronto. He currently serves as Provincial Clinical Lead, Quality Improvement & Primary Care Engagement in Palliative Care at Cancer Care Ontario. He is the immediate Past President of the College of Family Physicians of Canada and a Past President of the Ontario College of Family Physicians.
- Ken Gallinger (Toronto Star) spent much of his career as a minister in the United Church of Canada. During his ministry, Ken filled many positions within the denomination, and was twice nominated for Moderator (the elected head on the national church). For seven seasons, Ken co-hosted Spirit Connection, a weekly journal of faith and ethics on Vision TV. He has been a regular contributor for over 30 years to The Observer, and other periodicals. After leaving the church in 2012, Ken continues his work as Ethics columnist for the Toronto Star.
The panel will begin immediately following the 2pm Sunday matinee performance of BEA on May 12, 2013 (approximately 4pm). Anyone who has seen BEA is invited to attend (admission will be granted with a valid ticket stub). However, seating priority will be given to those who have attended the May 12 performance. Tickets are PWYC.
We hope you will join us for an afternoon of conversation and insight.
BEA plays May 7 – 26, 2013 at the Factory Theatre Studio. Tickets are available via the box office at 416-504-9971 or www.factorytheatre.ca.
Check out this video for a quick peak at Bea, as well as interviews with cast members Bahareh Yaraghi, Brendan McMurtry-Howlett, Deb Drakeford, and director Aleksander Lukac.
Bea opens May 8 and runs until May 26th. Get your tickets today!
Bahareh is one of the newest members of ARC. She joined the company in 2012 and is currently on the Artistic Board. She is ecstatic to be working alongside her ARC family, Deborah Drakeford and Brendan McMurtry-Howlett, as well as the talented creative team.
A Toronto-based performer, Bahareh spent the last three months performing in the Canadian Premiere of “The Kite Runner” in Calgary and Edmonton (Theatre Calgary/Citadel Theatre/Eric Rose). Born in Iran, raised in Vancouver and now living in Toronto, one of Bahareh’s passions has always been to travel, and to learn from different cultures and languages. She is thrilled to now be exploring the land of “Bea”, and to be immersed in the investigation of disability, assisted suicide, and most importantly – empathy.
To have the opportunity to play the role of Bea has been a gift for Bahareh. She is honoured to portray a woman who is a true rock star, the queen of her own domain, a force to be reckoned with, and a woman who knows herself and the world around her inside and out. However, Bea is trapped in a body that betrays her due to a debilitating condition. To be viewing life from Bea’s lens has been empowering, heartbreaking and incredibly freeing for Bahareh. Bea’s world is raw and real. There is no holding back and there are no lies.
For Bahareh, the story of Bea has highlighted the notion that we are all souls having a physical experience on this planet. Some have a much more limited physical experience than others. Yet, no matter what the physical condition, each soul is rich and full of life, laughter, anger, frustration, love, and humour. It’s never about first impressions, rather about removing barriers and seeing the insides.
Brendan has been a member of ARC since 2011 and sits on the artistic board. Most recently he was a part of the National Arts Centre English Acting company performing in Pride & Prejudice and Innocence Lost, taking him from Calgary, to Ottawa, to Montreal.
Last summer, Brendan helped launch the outdoor Shakespeare company, Shakespeare In The Ruff, and serves as the company’s Artistic Director. He directed their inaugural production Two Gents and will be performing in this summer’s production of Richard III.
In the fall, Brendan will be reprising his role in “…and stockings for the ladies” with RustWerk and Harold Green Jewish Theatre. He really loves that show. He’s been doing it for 6 years.
This production holds a very special place in Brendan’s heart, not only because of the amazing people involved with it, but because he spent 6 years as a support worker to people with special needs, working in group homes, and getting into all sorts of unexpected scenarios. The humour and heart that Brendan learned from the people he worked with, has been the single most important tool while working on this show. That and the ipod he uses to learn lines.