Dig Deeper | Deserters
Director's note | By Carmen Aguirre
It is an honour to direct the premiere of Kenneth T. Williams’ Deserters. Together with him, the outstanding design team, and this group of willing and talented actors, we have collaboratively endeavoured to construct and immerse the audience in the imaginary and recognizable apocalyptic nation Ken portrays in his play. A society where everyone is a soldier.
I have highlighted the surveillance aspect of the police state Ken has created, and, thematically, have focused on denouncing the classism and individualism that the play exposes. There is seemingly no hope in the world that he has written, because it depicts a culture built on the conviction that the defining characteristic of human relations is competition, not solidarity. And yet, it is in the fleeting moments of emotional intimacy, in what its most tyrannized characters survive, and the image of a child’s dead body that refuses to hide, that the play’s light and truth lie. There’s horror, there’s refuge from horror, and there is resistance to horror. I have strived to foreground the tension between all three.
Thank you for coming to the theatre.
PHOTO CAROUSEL | Costume Designs by Kim-Michelle Brown
Costumes for actor Katie O'Keefe
Costumes for actor Sable B. Boltz
Costumes for actor Sable B. Boltz
Costumes for actor Liam Sievwright
Costumes for actor Abby Krushel
Costumes for actor Andrew Domanski
Costumes for actor Colby Stockdale
Costumes for actor Gabi Stachniak
Costumes for actor Travis Edwards
Costumes for actor Joshua Hope
Costumes for actor Caileigh Muilenburg
Costumes for actor Lauren Johnsen
Costumes for actor Tori Kibblewhite
CONSTELLATIONS | Dramaturgical notes and interviews by Christian Albarran
A constellation is a group of stars that, together, when looked at from Earth, give the impression of creating animal and anthropomorphic shapes. We give these shapes mythological names, and they also inspire legends around the world. Constellations reconfigure our human imagination; they have been observed throughout human history across all cultures, and, when the sky is clear enough to see them, they fascinate us.
Kenneth T. Williams and his Deserters deliver a whole new constellation. The story tells us about a group of young women having fun: “they could do all the fun stuff their male counterparts did” (Williams). This story also narrates some Indigenous history and culture, as it questions colonialism and its constant refusal to die. All of this with tons and tons of fun, creativity and an incredibly talented team.
These four interviews I recorded represent the constellation of Deserters: the play, its plot, argument, and characters. Kenneth T. Williams (playwright) offers a handful of stories on how he created the play. Carmen Aguirre (director) delves deeper into the story, revealing how her work centers on the audience throughout the production. Chelsea Payne Evason (set designer) explores and pushes her creativity to her limits, creating these incredible designs for this show. And Sable B. Boltz (actor) shares amazing experiences in the process with peers and director Carmen Aguirre.
Have fun and enjoy the show!
- Christian Albarran (Dramaturg)
What is Deserters about?
It’s about characters in conflict with one another, with themselves and with the world they’re in. What I wanted to do was create a play for young women where they could do all the fun stuff their male counterparts get to do, like roughhousing, being bold, being raunchy, and being in power, without it being a statement about any of those things. I also wanted to create a play on Indigenous history and culture that institutions would be comfortable producing.
What were the main challenges you encountered writing this play?
I’m a huge believer in the workshop process. The biggest issue that kept coming up was what defined the world of Deserters. It’s set in an alternative reality, so ensuring the world's rules were consistent and served the drama was the biggest challenge. The other big issue is conveying a military mindset to cast members and dramaturges. Very few people have that experience, so much of the shorthand slang that I use has to be constantly explained. These challenges, though, are great for inspiring new scenes and characters, so I embrace them.
How is your play relevant in this ‘here and now’ moment?
All of my work is sparked by confronting colonization and, sadly, colonization is a creature that refuses to die. Any work that confronts colonization, no matter the subject, will always be relevant here and now. However, that doesn’t mean we can’t have some fun at its expense, which is another tactic that I try to use. Humour is also essential to here and now. It builds strength and character.
How does the play allow you to express what you want to say at this moment in your life?
I take my job very, very seriously. There are two overarching themes I’m exploring in the script: surveillance and individualism. We have a lot of live feeds in production, where people on stage are always under surveillance. The other theme I wanted to explore in the play is denouncing individualism. Every character in the play is out to protect themselves. It doesn’t seem like anybody is in solidarity with anybody in the play. It’s almost like a territorial denunciation. My directorial vision consists of a denunciation of hyper-neoliberalism, in which every single character in the play is out for their own interests, with absolutely no regard for anyone else or for any greater cause that would put them in second or third place to something bigger than themselves.
What directorial approach do you take in this production?
I find the play to be very nihilistic and cynical because it leaves you with a sense of hopelessness. I ask myself, is this what we’re trying to say, that there truly is no hope in humanity? As a director, I’m trying to push back against that. That is the furthest thing from my personal belief system. It’s a good challenge, looking at it more as a denunciation as opposed to “oh, well, there’s nothing we can do!”
There’s also a lot of humour in the script, and we’re finding a lot of that humour as we’re working through the scenes. The majority of the work that I do is working with the actors, finding the nuances and trying to make each character as nuanced and complicated as possible so that the audience cares about them.
What is your experience with this multimedia/intermedial work?
It’s super exciting, and I’ve done it many times. There has to be a reason why you have cameras, and it has to be embedded in the storytelling. The fact that we have media elements is because they are part of the storytelling, which really feeds the story rather than distracting from it.
How did you arrive at this specific design for this production?
Whenever I approach a script, I read it multiple times, each time through a different lens. The first reading is simply to experience the story and get a sense of the world the playwright is creating, asking myself, “What is the playwright really getting at?” The second reading is more analytical. During this pass, I highlight what I believe to be the key elements of the play—the components that feel essential to the story and without which the production could not exist.
For this particular production, I continued to refine and strengthen the design so that it could hold the key elements of the production while also supporting the work of the other design disciplines. I met regularly with both the director and the playwright to ensure that the design remained true to the story and the world of the play.
Once the concept felt solid, I moved into the technical phase of the process. Because set design is the area in which I feel least comfortable, I made a point of sharing my work with the technical director numerous times before submitting the final drawings. This collaborative process helped ensure that my work was accurate, legible, well-rounded, and polished.
What is/was the most joyful moment in the creative process of this production?
The support from my peers played a crucial role throughout this process. They helped me build confidence in my design and encouraged me to lean into my own strengths and artistic instincts. Their belief in my work allowed me to take creative risks and fully commit to the vision I was developing.
It was also an incredible experience to work with a director like Carmen Aguirre, who is both a phenomenal artist and the perfect person to lead this production. She approached the process with immense grace and generosity. At no point did she impose her own ideas onto the design; instead, she invited me to share my vision of the world and listened carefully to the reasoning behind my choices. Through our conversations and meetings, she challenged me in thoughtful ways that helped refine and strengthen my ideas.
How do you feel working with this text?
Because this production was a new work written by a beloved faculty member, Kenneth T. Williams, I felt an enormous amount of pressure. I wanted to ensure that the design honoured the world Ken had created and that I did not let anyone down by producing something that felt ill-fitted for the story.
During moments of anxiety or doubt, the team consistently reminded me of how the design was inspiring their own creative work. One example of this came from my colleague and mentor Erin, who said, “I love what you’ve built here with the ‘pit.’ I think this show, and the design you’ve created, can offer the audience a perspective they’ve never seen before. I can place cameras within, above, and surrounding the set and project the actors from different angles—showing the audience something new and really leaning into the idea that within the world of Deserters, we are being watched at all times.”
What was the main challenge you faced in shaping your character?
My main challenges have been differentiating among the characters I play. I have three speaking roles, and it’s important for me to make a strong choice for each character, both physically and vocally.
I will be wearing different costumes, but the costumes aren’t everything. I also need to be able to inhabit completely different inner lives in the rehearsal hall, with no costume or set. Even if the characters are similar in some ways, I need to identify what sets them apart and how to express that with ease and authenticity.
Because we are working with a story of incredible scale, it is also important that we track our own story and understanding of the world, while also accepting that the audience might not catch everything. At the end of the day, as actors, we need to fully inhabit every moment.
Describe your experience working with Carmen Aguirre as a director and your own acting challenges with this production.
Carmen has fantastic insight into the world this play creates and has been pushing us to invest in the story and the characters. Many of us have lived our lives very detached from war, the military, and violence. Having someone in the room who can offer her own research experiences and guide us in our own research is invaluable.
At the beginning of the process, Carmen directed us to go as big as possible with every choice, and as we refine each scene, those choices are being internalized. This has helped create rich, complex, and grounded work. We have also been working extensively with animal imagery for our characters, which is a great way to develop physicality and create contrasting characters.
What did you enjoy the most in this production?
I am having such an amazing time with the physical work of this play, especially the stage combat. We get training in our 2nd and 3rd years of the BFA Acting program for stage combat, and until now, I have only gotten a taste of it on the studio stage. The fights in this show require immense awareness, precision, and physical engagement, and it is always my favourite part of rehearsal.
How is your relationship with the other actors working on this play? Do you find this creative process different from preview productions? Any challenges you encountered?
This is a new play that is still undergoing revisions, and the playwright has been in the room for many rehearsals. This changes the process, most notably how we approach questions. A lot of acting is making assumptions about the text, but when the playwright is there, you can just ask him yourself. Where this gets tricky is that the “correct” answer is not always the right one for this version of this character in this specific production, which speaks to the beauty of live theatre.
I have had a fantastic time working with my colleagues. I am so grateful to be in a cohort of generous, skilled, dedicated actors. We have so much fun together, and a complex show like this is a great testament to our strength as an ensemble, our love of our craft, and our care for each other.
The COMPANY | Alphabetically by last name
Carmen Aguirre | Director
Carmen Aguirre is an award-winning theatre artist and author. She is an Electric
Company Theatre Core Artist and has written and co-written over twenty-five plays and
two bestselling memoirs. Her latest play Fire Never Dies: The Tina Modotti Project
just had a sold-out run in Vancouver. Next, she will direct The Cherry Orchard at The
University of Victoria and Somewhere at The Grand Theatre. The Consent Club, her
adaptation of Moliere’s The Learned Ladies and a brutal satire on the gentrification of
the Me Too movement, will premiere in Vancouver in 2028. Carmen is a graduate of
Studio 58. Carmenaguirre.ca
Sable B. Boltz | Cast
Sable B. Boltz is beyond excited to dive into the world of Deserters for the final show of his fourth year at the U of A. Sable moved to Edmonton 5 years ago and somehow found his way into the BFA Acting program. Recent credits include The Winter’s Tale, The Cherry Orchard, antigone lives*, Tartuffe (University of Alberta), White Christmas (NUOVA Vocal Arts), Lemon (ReadyGo Theatre), and That’s The Spirit! At NextFest (co-created with Gabi Stachniak). Offstage, Sable is a writer and a photographer.
Sam Bronson | Cast
Sam Bronson graduated from the BFA Acting program at the University of Alberta in 2025. He is based in Edmonton, Alberta, on Treaty 6 territory. Sam most recently appeared in Mermaid and Antigone on the BLT stage, and also recently appeared in Nuova Vocal Arts’ Once Upon a Mattress, and in Cadaver Synod and 638 Ways to Kill Castro at the Edmonton Fringe. In Studio Theatre’s previous season, he appeared in The Laramie Project, [BLANK], and Orlando, and he is very excited to once again work at Studio Theatre!
Kim-Michelle Brown | Costume Designer
Kim Brown is an MFA Theatre Design student with Permanent Residency in Canada, hailing from across the pond in England and Germany. She acquired a BA in Ancient History and Archaeology from Cardiff University in Wales, and studied Theatre Production at MacEwan University prior to enrolling in the Design Program at the University of Alberta. For Deserters, she wants to thank the Wardrobe Dream Team of Joanna and Julie and Wardrobe ASM Imogen for their monumental efforts in making the MANY Costumes in this show come to life.
Andrew Domanski | Cast
Andrew Domanski is delighted to perform in what will be his class' final studio show before graduation! Having been raised in Edmonton and supported so strongly by the local theatre community (especially Light In The Dark Theatre, Top Bunk Theatre and Cousins-in-Law Productions) Andrew is excited to continue being based in the city in the coming years.
Travis Edwards | Cast
Travis is excited to be graduating from the BFA program at the University of Alberta. Hailing from a small farming community in Southern Alberta, Travis has previously trained with Rosebud Theatre and School of the Arts, obtaining a two-year Diploma in Acting. RT select credits include The Sound of Music, and most recently Dream: A New Canadian Musical (Understudy). Other select credits include Canadian Badlands Passion Play (Badlands Amphitheatre), The Cherry Orchard, The Winters Tale (University of Alberta), and most recently The Moors and Tartuffe (Studio Theatre). See Travis this summer in Nuova Vocal Arts production of Brigadoon. Love to Lacey, and many thanks to family and friends for all their support.
Chelsea Payne Evason | Set & Props Designer
Chelsea is an MFA Design student at the University of Alberta, where she is continuing to develop her practice in theatrical and production design. She holds dual Bachelor of Arts degrees in Theatre and Music Studies from the University of Guelph in Ontario, grounding her creative work in both performance and musical scholarship.
Recent projects include Set and Lighting Design for Waiting for Godot by Samuel Beckett, Lighting Design for The Laramie Project by Moisés Kaufman and the Tectonic Theater Project, and Set and Lighting Design for Mermaid by Polly Teale. Through these varied productions, Chelsea has cultivated a design approach that integrates atmosphere, dramaturgy, and technical precision. She is currently designing the set for Kenneth Williams’ premiere of Deserters.
Chelsea is Originally from Orangeville, Ontario and is now living in Edmonton, AB.
Jade Foote | Stage Manager
Jade Foote is a 3rd year Bachelor of Fine Arts - Stage Management student based in Edmonton, Alberta. This is her second show in Studio Theatre, as she was Assistant Stage Manager for antigone lives*. Other shows include Stage Manager for Tom at the Farm, and Assistant Stage Manager for The Girl in the Goldfish Bowl in the Bleviss Laboratory Theatre. Many thanks to friends and family for their support!
T. Erin Gruber | Lighting & Projections Designer
T. Erin Gruber is an award-winning set, lighting, costume and projected media designer. She is an Assistant Professor in Theatre Design (Lighting) at the University of Alberta and works professionally across Canada and around the world. In June 2019 her work was featured at the Prague Quadrennial International Design Exhibition. In 2021 she co-curated “Level UP” an online symposium presented by the Associate Designers of Canada that attracted hundreds of participants from around the world. Selected Award-winning projects: Cycle (Thou Art Here Theatre, Sterling Award for Multimedia Design), The Curious Incident of the Dog in the Night Time (Citadel Theatre and RMTC, Sterling Award for Lighting Design). For more information visit her online: eringruber.com, levelup.designers.ca
Joshua Hope | Cast
Joshua Hope is an Alberta based artist, originally from Red Deer, Alberta (Treaty 6 and 7 Territory). His primary work as an artist has been acting, but additionally, Joshua has done a variety of fight coordination work for various companies in Edmonton and Red Deer, as well as some independent music co-writing/production. Additionally, Joshua is currently in the process of completing their BFA in Acting here at the University of Alberta. Selected acting credits include: Sheep Play (New Works Festival), The Cherry Orchard, The Winter’s Tale (University of Alberta), antigone lives*, Tartuffe (University of Alberta Studio Theatre). Selected fight coordination credits include: Romeo & Juliet, Riverona (Prime Stock Theatre), You Can’t Take It With You (Abbedam), I Inherited the Harvest (New Works Festival).
Lauren Johnsen | Cast
Lauren Johnsen is an Alberta-based multidisciplinary Actor completing her Bachelor of Fine Arts in Acting at the University of Alberta. Her practice bridges contemporary movement with theatre, exploring performance as a site for real-time composition, physical awareness, and transformation. Drawn to experiential processes, Lauren seeks to redefine performance through embodied storytelling and continuous physical inquiry. She is also very passionate about film and voice over, embracing its precision and nuances. Recent credits include: Tartuffe, antigone lives* (Studio Theatre), Nose Dive (Play the Fool), The Last Perfect Game (Edmonton Fringe), and This Is Not a Test (Collections Collisions/Mile Zero Dance).
Tori Kibblewhite | Cast
Tori Kibblewhite is an emerging performer, producer, playwright, and multi-disciplinary artist based in Amiskwaciywâskahikan and is graduating with a BFA in Acting this spring. She has performed in festivals such as Skirtsafire, the Edmonton Fringe, Play the Fool, Nextfest, and The Kaleido Festival. They have a passion for new work, having written and/or produced several plays and clown shows. She co-founded Dog Bite Theatre Collective and currently serves as its Artistic Producer. Beyond theatre, she is a painter. Selected performance credits include: The Moors (Studio Theatre) Televangelists (Dog Bite Theatre), A Winter’s Tale (University of Alberta), what falls out of our brains… (Dog Bite Theatre & Good Women Dance), Working: The Musical (Citadel Theatre).
Abby Krushel | Cast
Abby Krushel is an emerging artist originally from Tk'əmlúps (Kamloops, British Columbia). She is currently in her fourth year at the University of Alberta in the Bachelors of Fine Arts Acting program. She has had the privilege of training in various programs in British Columbia, Alberta and Ontario. Abby has also participated in workshops geared towards the development of new plays and was a part of the Postmarginal Edmonton workshop ‘Casting Across Differences’. Selected theatre credits include: The Shape of a Girl (Western Canada Theatre), Working: A Musical (The Citadel Theatre’s Young Company), The Winter’s Tale and The Cherry Orchard and antigone lives*(The University of Alberta).
Caileigh Muilenburg | Cast
Caileigh Muilenburg is currently in her fourth and final year of her Bachelor of Fine Arts in Acting at the University of Alberta. Previously she attended MacEwan University where she graduated with a Diploma in Music Theatre Performance. Caileigh is passionate about the experience the audience has and helping to transport them to another world. She is especially interested in children's theatre as this brought her a lot of joy as a child and she now wants to pass that experience on to today's youth. Past credits include World Goes ‘Round (MacEwan University), The Drowsy Chaperone (MacEwan University), Once Upon a Mattress (Nuova Vocal Arts), and Between the Lines (Nuova Vocal Arts). She owes many thanks to her mom and dad who have supported her along the way. Instagram: caileigh_joy
Marie Nychka | Movement Coach
Marie began her career as a dancer with such companies as the Royal Winnipeg Ballet, Ballet Brazil, and Ballet de Roma working across Canada and in Italy, Brazil, New York, Florida, and the Caribbean. She is also a former dancer with the Yevshan Ukrainian Folk Ballet Ensemble and the Pavlychenko Folklorique Ensemble. For more than thirty years she has been a freelance actor, director, choreographer, adjudicator, and teacher. She is a regular faculty member and choreographer for Nuova Vocal Arts and Edmonton Musical Theatre. She teaches in both the BA Drama and BFA Acting Programs in the Department of Drama at the University of Alberta where she has received several teaching awards including the prestigious William Hardy Alexander Award for Excellence in Undergraduate Teaching (2016). Marie has been nominated eight times and twice received the Elizabeth Sterling Haynes Award for Outstanding Choreography. She is the founder and was the Artistic Director of the Tavria Ukrainian Folk Dance Ensemble for many years. In 2016 Marie received The Nation Builders Award from the Ukrainian Canadian Committee for years of outstanding service to Ukrainian dance in Canada.
Katie O’Keefe | Cast
Katie O’Keefe is in her last year of the BFA Acting program at the University of Alberta. Her home is in Springbank, AB, where she developed her love for the stage as an Irish dancer. Outside of school, she’s been working as an actress, choreographer, and puppeteer. She has a passion for physical comedy and has found a new love for Clowning. When she’s not on the stage or in front of the camera, she can be found dancing, writing songs on her guitar, or going on nature walks with her dog Levi. Enjoy the show!
Liam Sievwright | Cast
Liam Sievwright is an Edmonton (Amiskwacîwâskahikan) based actor currently attending the University of Alberta in the Bachelor of Fine Arts Acting program. His passion for performance continues to grow as he learns more and more about the world of the stage. Aside from acting, he has fallen in love with clown and movement and he can’t help but to bring his passion for both into everything he performs. Recent performance credits include antigone lives* (University of Alberta) Crossing The Line (Play the fool) and The Winters Tale (University of Alberta)
Matthew Skopyk | Composer & Sound Designer
Matthew Skopyk Design/Composition/Production: The Invisible (Agents of Ungentlemanly Warfare), Vigilante, Fortune Falls, Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe, The Soul Collector (Catalyst / Citadel / Persephone / National Arts Centre /The Grand / Vertigo); Hamlet, Romeo & Juliet, Titus Andronicus, Macbeth (Freewill Shakespeare Festival); Once (Citadel); The Humans (Citadel / Canadian Stage); Shakespeare In Love (Citadel / RMTC); Shakespeare’s R & J (Kill Your Television); Playing With Fire: The Theo Fleury Story (Citadel / Persephone / ATP / Neptune / Centaur); Enron (National Arts Centre); Whisper (Studio Theatre/Catalyst).
Gabi Stachniak | Cast
Gabi Stachniak is a multidisciplinary theatre artist residing on Treaty 6 Territory. Growing up in the dance world, her love of the arts has expanded into devising, producing, teaching, and performing. Select performance credits include fold. - co-created and performed with frequent collaborator, Sable B. Boltz (MileZero Dance’s Connections//Collisions Cabaret), Tartuffe and The Moors (Studio Theatre), That’s The Spirit! and what falls out of our brains and into the pockets of strangers (NextFest), The Winter’s Tale and The Cherry Orchard (University of Alberta), Cats and Other Miscellaneous Pleasures (Common Ground Arts Festival).
Colby Stockdale | Cast
Colby Stockdale (He/Him) is an indigenous actor based in Amiskwaciwâskahikan. He began acting in high school and went on to do the Young Companies acting program at The Citadel Theatre. Over the past two summers Colby has spent time in Berlin studying dance and theater with Tanzfabrik, The English Theater, and Dock 11. He is currently studying acting at the University of Alberta through the BFA Acting program. His recent credits include: Thou Art Here Theatre’s Civil Blood: A Treaty Story, The Cherry Orchard, The Winter’s Tale, and antigone lives* at The University of Alberta.
Kenneth T. Williams | Playwright
Kenneth T. Williams’ professional path is a “guidance counselor’s nightmare.” He’s been a soldier, rock musician, journalist, First Nations land claims researcher, and door-to-door encyclopedia salesman. As a journalist, he was a member of the very first news team for the Aboriginal Peoples Television Network. He’s the first Indigenous person to earn an MFA in Playwriting and become an associate professor at the University of Alberta’s Department of Drama.
His plays, The Herd, In Care, Café Daughter, Gordon Winter, Thunderstick, Bannock Republic, Suicide Notes and Three Little Birds have been produced across Canada. He also co-wrote Gabriel Dumont’s Wild West Show.
He lives in Edmonton with his partner, Dr. Melissa Stoops, with their cats, Augustus and Drusilla. He is a member of the George Gordon First Nation in the Treaty 4 territory.
As much as I'd love to name everyone I wish to thank for helping me develop Deserters, it would be a list longer than the play. However, the funders and institutions I wish to thank are the Drama Department of the University of Alberta, the University of Alberta Bookstore, Canada Council for the Arts, Saskatchewan Arts Board, Gordon Tootoosis Nikaniwin Theatre, Native Earth Performing Arts, Citadel Theatre, and the Banff Centre for Arts and Creativity.
Imogen Wynters | Assistant Stage Manager
Imogen Wynters (she/her) is thrilled to be assistant stage managing Deserters by Kenneth T. Williams. She is currently pursuing her BFA in Stage Management at the University of Alberta. Imogen began her theatre journey as a performer at the Citadel Theatre, appearing in A Midsummer Night’s Dream, A Christmas Carol, and Evangeline. Her love of theatre soon expanded to directing and designing several one-act plays for theatre festivals. Recent credits include sound design and composition for New Works Festival 2026, assistant stage managing Shrek the Musical (NUOVA) and Televangelists (Dog Bite Theatre), and stage managing Headhole at Edmonton’s 42nd Fringe Festival and NUOVA’s Between the Lines.
Morgan Yamada | Fight/Intimacy Director
Morgan works as a fight director, actor, arts educator, and Co-Artistic Producer of Azimuth Theatre. A University of Alberta BFA Acting alum and certified FDC (Fight Director Canada) instructor, she has fight directed for theatres across the country and performed with award-winning ensembles.
Published April 2026