Black & Rural – House Program

Welcome to Black & Rural written and performed by Shayna Jones.  

When Shayna and I had our first conversation about art and life more than a year-and-a-half ago, she told me about a new project she’d been working on that she was calling Black & Rural. I found her account compelling.  I immediately felt her story was something I’d love to hear in the theatre as an audience member. As the conversation continued over time, Pi found it was able to support Shayna as she worked to bring her story to the stage.   

I felt then, and I feel now, that our artistic spirits are wonderfully complimentary. We look for the essence in things. The energy and experience of the work is now part of my own root system. 

I may be more inclined to urban living, and her to the countryside, but Shayna is no stranger to city life. She was born in Chicago and grew up in Vancouver, while I grew up in a small city in an agrarian province.  

I’m no stranger to rural life. My uncle’s house had no running water or flush toilets. And the stove was most often heated with wood. I’ve driven tractors and fed livestock. I’ve immersed myself in nature, fishing on lakes and walking in woods. I’ve often felt nourished and healthy in the country, but in the end, I chose the city with all of its pressures, distractions and contradictions. Shayna has chosen the country for her soul to thrive. 

I must acknowledge here that, while I have a lived version of the rural experience, mine is backgrounded in a specific white settler history.  The Black & Rural experience is not mine. It’s an honour and a privilege to have been invited into Shayna’s personal world.  

I’d also like to give a shout out here to musician/composer Rufus Cappadocia who was with us in the room for the entire month of rehearsal, responding musically to the heart and soul of the moments as they unfolded. Our entire team of talented people have all given themselves to the process. Please meet them on-line or in your program.  Thank you all for being here to share in this remarkable story.  

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Kayleigh Sandomirsky is a stage/production manager, producer, curator and performer. She recently toured Departure by Marissa Wong, 003_playback by Caroline MacCaull, BLUSCRN by FakeKnot, New Societies by Re:Current Theatre, and Ying Yun by Wen Wei Dance. Stage/Production Management credits: Double Happiness: Detour this Way by Nancy Tam and Robyn Jacobs, The Array by UpintheAir Theatre, Dancing to Remember by Aeriosa Dance and Butterflies in Spirit, The Sun and The Moon by Crimson Coast Dance, In Response to Alabama by Little Thief Theatre, and Kwê by Jeanette Kotowich and collective. Kayleigh also curated with UpintheAir theatre as their Resident Curator for 3 years, and recently curated the Conversation Series for Peek Fest by Impulse Theatre. 

Cecilia Vadala was born and raised in Italy, with a background in Philosophy and Art History. A recent graduate of the MFA program in Theatre Design and Production from the University of British Columbia, Cecilia designs for the stage and the screen, focusing on the scenic design practice.  

As a designer, Cecilia considers herself a visual storyteller. Her aesthetic is suggestive and evocative. In her work the space is another character that evolves and tells a story on its own. As an artist, Cecilia explores the connections between emotions and materials, feelings and textures, often introducing a sensorial component to her designs. Portfolio: ceciliavadala.com 

Brad Trenaman – For Pi Theatre: The Events. Vancouver: White Noise (Savage Society / Firehall), Kindred (Belfry), Salmon Girl (Jessie Award – Raven Spirit / Carousel), Redpatch (Jessie Nomination – Hardline Productions / Arts Club), Where The Wild Things Are (Presentation house). Toronto: Shakespeare in High Park (Canstage), CATS (NuMu Productions). Las Vegas: Matt Dusk (Hilton Residency ) and Menopause the Musical (Luxor). Touring: The Stepcrew, magician Ted Outerbridge, National Chinese Acrobats. Freelance writer for Professional Lighting and Production Magazine, member of Associated Designers of Canada and President of New Works, a Vancouver based dance support organization celebrating its 30th anniversary next year. www.batlighting.com 

Victoria Bell (V) is a Vancouver-based scenographer (lighting, sound, set, and projection designer), technical director and Studio 58 graduate. Victoria is an ADC and IATSE 118 member, and a strong proponent for union membership and their justified authority. She is also a Stir recognized “Game Changer” in this year’s fall arts guide. Recently V has been the lighting designer and TD for Maybe We Land by Kathrine Semchuck + Meghan Michalsky and returned as lighting and projection designer for the remount of Hearing Voice by Allegra Chamber Orchestra. She was also the lighting designer on Pi’s recent Canadian premiere production of Enda Walsh’s Medicine. 

Rufus Cappadocia is a multi-lingual musician, performer, composer and recording artist of incredible range and diversity. Cappadocia has made a career of going where few cellists have gone before. Born in Hamilton Ontario, Cappadocia has made New York City his home for the last 30 years. His deep understanding of poly-rhythm and modal music has led to performances and recordings with a broad spectrum of musicians and dancers, such as “Bonga” and the Vodou drums of Haiti , Odetta, Urban Tap, RossDaly, Yacouba Moumouni, David “Fuze” Fiuzynski, The Paradox Trio , and Stellamara. He also performed with Aretha Franklin, Kasse Mady, The Peace Poets, Vishal Vaid, The Black Rock Coalition,Kif, Vernon Reid, The Campbell Brothers and many more. Cappadocia has toured throughout the Americas, Europe and Asia and has also performed in Mali Niger and Nigeria. 

Amber Barton has spent the majority of her life working in the arts as a professional contemporary dance artist, performing, choreographing, producing and teaching dance.  She received her professional dance training with Goh Ballet Academy, Arts Umbrella, Ballet BC’s Mentor Programme and the Banff Centre for the Arts.    

As a choreographer, her work has been presented in various venues in Vancouver, across Canada, and internationally.  As she extended her practice into the theatre community, she has had the privilege of working, collaborating and choreographing for such companies and artists as Horseshoes and Hand Grenades, Mindy Parfitt of Search Party Productions, Studio 58, Neworld Theatre and Electric Company.  

Libby Willoughby is a producer and arts administrator living and working on the traditional, ancestral, and unceded territories of the xʷməθkʷəy̓əm, Sḵwx̱wú7mesh, and səlilwətaɬ nations. Libby is currently the operations manager/associate producer at Pi Theatre as well as the co-artistic director of Little Thief Theatre. Her most recent producing credits include: In Response to Alabama which she co-created, co-wrote, produced, and performed in, Beautiful Man, Lampedusa, Black & Rural, and Truth & Lies (Pi Theatre), Past/Down, (Little Thief Theatre/HIVE Collective), and Halloween HIVE (HIVE Collective). Libby is deeply honoured to have played a small part in helping bring Shayna Jones’ beautiful work to communities throughout B.C. 

Maria Zarrillo (they/them) is a queer, non-binary film & theatre producer with a background in stage management, consulting, event production, advocacy, marketing, publicity, and audience services. They have worked with a variety of companies and communities in these capacities, both locally and nationally. In addition to their freelance career, Maria is the Producer with Queer Based Media, Managing Producer with the frank theatre, and Associate Producer with Zee Zee Theatre. Maria is a graduate of Studio 58’s production program, the University of Winnipeg with a major in Theatre & Film and a minor in Human Rights, and they are currently pursuing a Master of Arts in Justice Studies at Royal Roads University. Maria’s thesis research addresses oppression within the performing arts sector by looking to Queer Utopian Theory as a model to incite systemic change in arts organisations.