RBC Emerging Artist Production Mentorship Program

DAVIS SHEWCHUK

Davis Shewchuk (he/they) is a Disabled, queer, emerging stage manager. They have spent the past couple of years working on a variety of performances and events across western Canada, but are happy to call Amiskwaciwâskahikan (Edmonton) home. They are passionate about facilitating and nurturing anti-oppressive workspaces where all artists can thrive. He strives to create works accessible to both audiences and artists alike. They have an appreciation for new works and bringing theatre to life that tells valuable stories, particularly stories of underrepresented groups. He loves stage management and theatre administration and is excited to use this mentorship opportunity to learn new perspectives and how to improve his own practice. He’ll be spending time at the Citadel this season apprentice stage managing Made in Italy and The Mountaintop. Select credits include: Grease (WCT); Almost a Full Moon (Citadel); Off the Beaten Path and Stories of Arlyrus (OBPMusical); and Tune to A (Expanse/Azimuth).

“During this mentorship, I am looking forward to doing a deep dive into stage management and theatre administration. This incredible opportunity will allow me to further my skills and get to know more Albertan stage managers. My goal is to build a practice that is accessible to all artists and this mentorship will allow me to build my tool kit to do just that.”

MPOE MOGALE

Mpoe Mogale (they/them) reigns from Lebowakgomo, South Africa and splits their time between amiskwaciywâskahikan and moh’kínst’sis, in the colonial state of Canada. They hold a Bachelor of Arts (Hons) in Political Science, and a wealth of expertise in community-based research, facilitation, and arts administration. Mpoe’s primary artmaking form is dance, with a curiosity in the place of Blackness in spaces that deny it, as explored through several projects including: What (Black) Life Requires (produced by Mile Zero Dance and Azimuth Theatre). Mpoe’s current artistic imaginations have centered the brilliant and joyous aspects that foreground the lives of Black folks.

“This program offers me a rare and valuable opportunity to be in dance and theatre spaces as a mentee. I hope next year finds me confident in my abilities to combine these two worlds I have straddled, enough to carve out what I uniquely have to offer as a choreographer in Canadian theatre. To be learning this under the guidance of a pinnacle institution of art-making in our community is unreal! I am very grateful to the Citadel and RBC for the opportunity to courageously expand what I imagine to be possible for myself.” 

NICHOLE MAN

Nichole was born in Hong Kong and raised in Macau and recently graduated from the BFA Technical Theatre and Production Program at UofA. Growing up in a different country, Nichole wants to share her culture and different perspectives toward theatre with you all. Nichole spent her childhood performing on stage as a ballerina and actress. She previously participated in the Thousand Faces Festival as an Assistant technician (2018), BLT, and Studio Theatre in UofA throughout 2019-2023 including sound designing for Brontë and The Circle. Technical Director for The 39 Steps. Assistant Technical Director for Rochdale. Head of lights for New Works Festival 2020, Bakkhai and She Kills Monsters. Head of Sound for Weasel. Fly crew for Revolt. She Said. Revolt Again and Love’s Labour’s Lost. Props Lead for Cymbeline. Recent credits include: audio operator for Everybody Goes To Mitzi’s and house technician for the Varscona Theatre, Fringe 2023. Nichole will be participating in the upcoming Crescendo! as an audio operator.

“I’m thrilled to be embarking on the RBC mentorship journey, with a focus on technical directing, production management, and sound design. I’m excited to learn, create, and bring the magic of the stage to life, and I can’t wait to share this incredible adventure with all of you! Thank you to the Citadel and RBC for this incredible opportunity!”

REBECCA JOHN

Rebecca (they/them) is a multidisciplinary artist living and working in amiskwaciy-wâskahikan. Trained in production design and performance, they currently create at the the intersections of dance, theatre, and performance art. As a Mad, queer, non-binary, mixed-race Desi their work explores the liminal and non-monolithic body through movement and materiality. Methodologies, modalities, and disciplines that continue to shape their creative practice include: performance art, choreo poetry, inclusive and/or integrated dance, contemporary dance, devised theatre, collective creation, Mad practice, community-engaged processes, queer and feminist theory, intersectionality, anti-racist work, ancestry work. Artistic collaborations that remain close to their heart include CRIPSiE, mindhive collective, and Undercurrent Theatre as well as work with ARTICLE 11, Peggy Baker, Alice Sheppard, Good Women Dance Collective, The Maggie Tree, Apricot Stones, and Mile Zero Dance.

“As a multidisciplinary artist I’m grateful for this mentorship opportunity to upgrade my theatre design and tech skills while pushing towards Mad-accessible processes within (or without) theatre production frameworks. I want to open space, particularly as a Mad-identifying, mixed-race QPOC, to both embrace and grow beyond the identity piece, employing choreopoetry, dance, and devised theatre as entry points to my work.” 

ALISON NEUMAN

Alison Neuman (she/her) is a disabled emerging author, playwright, choreographer, dance artist, and creator passionate about sharing underrepresented voices and building communities. She has an education and performance foundation in dance, theatre, and voice, rooted in the Edmonton community from The Collaborative Radically Integrated Performers Society in Edmonton (CRIPSiE), Good Women Dance Collective (GWDC), Orchesis Dance, Mile Zero Dance, Nextfest, The Citadel Foote Theatre School, and The MacEwan Conservatory of Music. Alison shares stories of characters experiencing disabilities and marginalization. Her first full-length choreography work, The Strike, premiered at the 2020 Expanse Festival at the Chinook Series thanks to the support of the GWDC 2019 New Work Award, the Azimuth Theatre, the Edmonton Arts Council and the Alberta Foundation for the Arts. Her play, The Sunset Syndrome, debuted at the 2016 Walterdale Theatre From Cradle to Stage program and was produced at the 2017 Edmonton International Fringe Festival by Lucky Wench Productions.

“I am excited to explore the art of musical theatre and build my skills to tell the stories of marginalized characters and connect them with the audience. I aim to learn how theatre can be more accessible and inclusive. Thank you to the Citadel and RBC for this fantastic opportunity.”

JAMEELA MCNEIL

Jameela is a Jamaican-Canadian artist from Edmonton. She is a MacEwan University Theatre Arts alumnus, actor, musician, and emerging writer. Some acting credits include: The Wolves (Maggie Tree/Citadel co-production); As You Like It, The Color Purple (RMTC/Citadel co-production); Heaven (Lunchbox), Tell Us What Happened, John Ware​​ Reimagined (Workshop West); Sister Act, All Shook Up, and Soul Sistas (Mayfield). Jameela was a participant of Tarragon Theatre’s Young Playwrights Unit in 2021. Her passion for playwriting is rooted in her desire to put a spotlight on stories that have been forgotten or unexplored. She hopes to shine a light on Black-Canadian history and to create stories from diverse perspectives within the diaspora. Jameela is grateful to be a participant of the RBC Horizon Mentorship Program this year.

“Thank you to the Citadel, my loved ones, and educators. Your constant support means the world to me.”

“During this mentorship, I am looking forward to exploring Canadian stories through the lens of Black women and youth. I hope to focus on the strength of community and explore the complexities of identity.”

KAELEY JADE WIEBE

Kaeley Jade Wiebe (she/her) is a Métis multidisciplinary artist based out of Amiskwaciwâskahikan/Edmonton. As a folk-pop artist under the name “Kaeley Jade”, she has performed on stages across Canada and has opened for artists such as JUNO-winners Digging Roots and GRAMMY-winner Bill Birdsong Miller. A Summer Solstice Indigenous Music Award Nominee, Kaeley’s debut full-length album, Turpentine, was released September 2022. Alongside her career as a singer/songwriter, Kaeley doubles as an actor for theatre, film, and voiceover, and she recently made her professional directing debut with Alberta Musical Theatre Company. Select theatre credits include: The Wolves (The Maggie Tree/Citadel Theatre); A Christmas Carol (Carter-Ryan Productions); Chrysothemis, Revolt. She Said. Revolt Again. (Studio Theatre); All Because I’m a Woman (Citadel Theatre House Series); Romeo & Juliet (Shakespeare by the Bow); and the world premiere of the critically-acclaimed musical Two-Headed/Half-Hearted (Northern Light Theatre) for which she also composed the music. Select film credits include: Notes on Being Unpopular (1844 Studios); Smile: It’s Only the End of the World (Guerrilla Motion Pictures); and No Apology (Link to the Past Productions). She is most interested in exploring narratives centred around women and gender-diverse folks, and she is continually inspired by the beauty of human connection.

“As I continue to grow my practice as a multidisciplinary artist, I’m excited to meld my careers in the music and theatre industries to dive deeper into sound design and musical composition. Thank you to the Citadel and RBC for this incredible opportunity!”

LIZ PAGE

Elizabeth Page (she/her) graduated from the University of Alberta in 2022 with a BFA in Theatre Production – Stage Management. For 8 years now she’s been Acting in and Stage Managing shows of all styles and has been incredibly appreciative of all the opportunities to learn and grow in these fields. In her post-grad life, she’s found a lot of joy in helping others tell their stories and is hoping to be able to continue to do that by shifting gears into producing. She’s very excited to have such a wide pool of people to learn from and is focusing on telling Metis and Indigenous stories. Being Metis is something that she’s always been very proud of and spent most of her free time in University finding ways to reconnect to her heritage mostly through food and art.

“After being a stage manager for around 7 years, I wanted to branch out more into producing and I couldn’t imagine a better way to continue my education than through the Citadel and this program. Thank you to everyone who’ve encouraged me and supported me in all of my artistic endeavors over these past few years – I can’t wait to show you what I plan on doing next.”