Given a 21st-century lens, many assumptions and assertions made over a century ago can easily be misconstrued. One article, based on findings to be published in a book by Martin Pugh, nearly glamourizes the so-called lesbian trysts of the British suffragettes, notably Emmeline Pankhurst and her daughters. Meanwhile, a counter-argument suggests that such titles are merely sensationalizing and catering to a click-bait audience, and that friendships between women in the Edwardian era were referred to differently than today. Even the phrase “sleeping with” another person was taken much more literally rather than inferring a sexual relationship.
Although some famous feminists (Christabel Pankhurst and Dame Ethel Smyth, I’m looking at you) were very ‘out’ about their sexuality, and the sexual repression of the Victorian era was somewhat relaxing by the 1910s, it was still considerably taboo to discuss female sexuality, let alone same-sex attraction. Perhaps we will never truly know the exact parameters of the relationships of these women in their utmost intimacy.
– Keavy Lynch (founder) – Deanna Choi – Katie Coseni – Rachelle Lauzon –
– Rachel Romanoski – Angela Sun – Torey Urquhart –
Keavy Lynch is an emerging director/playwright and artistic director of Empty Box Theatre Company. She holds a degree in Theatre Praxis from the Marilyn I Walker School of Fine and Performing Arts at Brock University. Her directing credits include: Waiting for Alonzo (Toronto Fringe 2015), A Young Lady’s Guide to Vivisection (Toronto Fringe 2013), Titus Andronicus (2013), and An Ideal Husband (2012). This year she was an assistant director for The Lawyer Show, Nightwood Theatre’s annual fundraiser. Writing/ co-writing credits include: Waiting for Alonzo, “The Nice Guy” (Wrecking Ball #16, with Nicolas Billon), CNT: Welcome to the Boardwomb, The Convoluted and Somewhat Mysterious Mystery of the Music Box Key and she has several plays in development. Last year Keavy was a playwright-in-residence at the Paprika Festival. In the past, Keavy has focused on feminist and classical theatre, and has written for SpiderWebShow on these topics (Vol 2, Issue 7). She is currently exploring site-specific, immersive, and devising techniques.
Deanna Choi is an award-winning violinist, sound designer, and researcher, having completed her musical training through the Royal Conservatory of Music, the National Youth Orchestra, the National Arts Centre, Domaine Forget, and Stanford. She completed a Bachelor of Science in psychology at Queen’s University with a theatre minor. She is a founding member of the Badass Brahms Chamber Collective. Deanna is interested in examining the intersection between music, theatre, and psychology, and how these links can be used for storytelling as a clinical and social tool. She also has a dance background and classical vocal training, and is currently branching out musically in rock, jazz, and fusion dimensions.
Select credits: If We Were Birds (music director/composer/performer, Queen’s University Department of Drama), Scorched (sound designer, Fifth Company Lane Productions), The Importance of Being Earnest (Miss Prism, Queen’s Vagabond Theatre), Hair Lines (writer/performer, Chipped Off Collective), Down There 2014 (writer/performer, Arts & Science Undergraduate Society), The Pillowman (sound designer, Queen’s Vagabond Theatre), Avenue Q (Christmas Eve, Blue Canoe Productions), As You Like It (Amiens/composer, Queen’s Vagabond Theatre), Sweeney Todd (band, QMT), Spring Awakening (band, QMT).
Rachel Romanoski is a graduate of the Dramatic Arts Program, Performance concentration with a BA Honours Degree at Brock University. Born in Hamilton, Rachel has been training since the age of five in various styles of dance including as hip hop, tap, jazz, lyrical, ballroom, ballet and pointe, along with training in musical theatre and acting/singing. Rachel’s performances included roles in the Theatre Aquarius productions of Miss Saigon, Chess, and a lead role in Aspects of Love. She has received several awards at the Sears Drama Festival, including an Award of Merit for writing, directing and the lead role in How does your Garden Grow?. She has appeared in various productions at Brock University such as The Suicide where she played the role of Grusha, and lead roles in productions such as Jehanne of the Witches, Here Be Dragons, and R.U.R. Rachel was also assistant choreographer for The Suicide and Here Be Dragons, as well as lead choreographer for the play The Belle Stratagem. Rachel has provided dance instruction and produced workshops for Performing Art Seminars. She is currently teaching privately and working with Dreamlight Studio in Hamilton, Ontario. During her tenure at Brock University, Rachel was Executive Administrator, Vice President, and President of Brock’s Live4dance (hip hop crew) and an Advanced Hip Hop teacher for Brock Dance.
Angela Sun is a Toronto-based performer who studies at the University of Toronto. Her social justice interests include intersectionality, mental health, sustainability, body image, and media literacy. Select performer credits include: shit song for some island (Newborn Theatre/ Aim For The Tangent Theatre); Bite-Sized, and Abandoned City (Broadleaf Theatre); The Government Inspector (Wolf PAC); Whipped Dreams (Newborn Theatre); The Tempest (Trinity College Drama Society); The Pirates of Penzance, The Mikado, and H.M.S. Pinafore (The Vic Chorus); Show Us Your Bobs (The Bob Sketch Comedy Revue); The Vagina Monologues, and A Memory, a Monologue, a Rant, and a Prayer (Hart House Social Justice Committee). Select production credits include: Company (Assistant Director, VCDS); A Memory, a Monologue, a Rant and a Prayer (Director, HHSJC Benefit performance for Nellie’s Women’s Shelter); My Very Own Normal Family, and Plasterface (Director, Newborn Theatre); and Where’s My Money (Publicity Intern, Alley Co-op Theatre). She has also performed at such renowned festivals as the Paprika Festival, the SummerWorks Theatre Festival, InspiraTO and the Toronto Fringe Festival. She is a regular contributor to Mooney On Theatre and has been a feature poet at the Facilitate and Outrageous poetry readings. Angela self-identifies as a loud Asian fat feminist.