Winnipeg Free Press

Winnipeg Free Press (Newspaper) - September 24, 2025, Winnipeg, Manitoba C2 ● WINNIPEGFREEPRESS.COMWEDNESDAY, SEPTEMBER 24, 2025 ARTS ● LIFE I ENTERTAINMENT Troian: While writing The Creatives, I crafted two acts consisting of five scenes each, utilizing the five main pillars of a story structure. With var- ious story threads to manage, I had to consider which ones to carry through the entire play and which characters or threads would serve a purpose up to a certain point. Additionally, I dedicated time to planning set scenes and tran- sitions within the play. New territory for me! Fults: The biggest teaching I re- ceived had to be that “art” not only is about creating something but that it can also be seen as short for “art”i- ficial. My writing got stalled when I became concerned that what I was writing was straying too far from what was. (With) this teaching from our mentor Ian Ross, I gave myself the permission to write a story to include and build on other characters as well. This opened up my mind to other possible paths for the characters I was writing and creating. Friesen: I learned that when you are writing a story based on facts, not everything in that story needs to be complete facts, that it is OK to write off of your imagination to help make the play better or have a smoother flow to it. I also learned that it is OK to just write. It is easier to take things out than to add things in. Pimootayowin participants get a crash course in theatrical storytelling. Based on your experience in the circle, what advice would you give to other aspiring play- wrights as they begin crafting their own scripts? Troian: My advice would be to: Let go and let in. Take in the experience, be ready, listen, and then go home and reflect. Read and watch as many plays as possible. Look and study the craft that you are immersed in. Follow your gut. If your writing and characters are taking you to an unfamiliar area, explore it! Fults: Finding the space and time to do work is always going to be a chal- lenge. So I figured that out for myself. I like to be in the centre of our home with all the things happening around me. (That) really worked. I tried listening to music of various genres but landed on classical for the lack of words and the ability to be carried away by it without having to think about it. And coffee. Friesen: The advice that I would give is to not create too many characters, write as much as you can, and whatev- er ideas come to mind, take notes and ask questions. Ian Ross is an amazing teacher, and he is more than willing to sit with you one one-on-one to ensure that you are heading in the right direc- tion with your play. What surprised you most? Troian: I was nervous! It’s all about stepping out of your comfort zone. I believe it also has to do with how long I’ve been wanting to write a play, too. Working alongside Ian Ross, who has a wealth of knowledge and experience, was a bit intimidating. Melissa Lang- don’s expertise was also invaluable. Fults: I didn’t expect to really love writing. I didn’t expect to become so emotionally involved with the writing and process of my cohort of writers in the circle. I connected with each per- son with a level of intimacy for their stories that scared and amazed me. They are all so talented and have such great stories to tell. Friesen: I was surprised by how supportive every participant is. The bonds that were created are everlast- ing. I was surprised by the knowledge that was shared with us. I knew that Ian was super smart, but when I got to listen to him educate us, he went above and beyond anyone else I have ever seen before. Are there any other projects you’ve already begun dreaming up? Troian: In terms of playwriting, I am working on my second play, an Indigenous drama. It focuses on a couple grappling with encroachment on their territory and contemplating a potentially irreversible decision. I feel confident to pursue playwriting endeavours thanks to this program. Fults: As part of this process, I have started writing two other stories that I feel could be told on the stage. Keeping connected with this cohort of writers from this circle is going to be a huge value to me. The amount of support that (RMTC artistic director) Kelly (Thornton) and Ian have provided us has been quite motivational to continue on, for me. Some people may write one story and be “Good, that’s what I wanted to say,” and be done with it, and that’s OK too. I am inspired. Friesen: Of course, I am going to be looking into writing a comedy this time. As this was a heavier emotional play, I want to change it up to some- thing that is full of happy tears. Any other thoughts? Troian: I believe that having a program like Pimootayowin is crucial, especially for places like MTC. Most mainstream institutions and establish- ments were not designed with Indige- nous people in mind. Our community is diverse, with various lived experi- ences and stories to share with a wider audience. I would love to see more Indigenous playwrights and plays hit a mainstream stage and regularly be part of their season. Fults: The process of colonization and residential school has had a multi-generational impact on Indige- nous folks in North America. School hasn’t always been seen as a positive thing for me, but learning is always welcome. Kelly and Ian’s approach to supporting Indigenous writing and writers is to be commended and applauded. Keep up the good work. You have my eternal gratitude. Friesen: To be able to sit and learn from Ian Ross was a great honour. He is someone who really cares about the people in the community and helping people become the best that they can be. The compassion and understanding that come from this group are out- standing, and I would not change that experience for the world. ben.waldman@freepress.mb.ca SUPPLIED Ian Ross (standing) introduces Martha Troian’s reading of her new work, The Creatives. STORIES ● FROM C1 Prolific choreographer, mentor ‘a champion for dance’ S TEPHANIE Ballard, the glam- orous, sharp-witted Winnipeg contemporary dance icon, is being remembered as a community builder who believed deeply in art and the people who make it. Ballard died Sunday after a period of declining health, peacefully in her own home, “surrounded by her dance daughters and sisters: myself, Gaile Petursson-Hiley, Faye Thom- son and Robyn Thomson Kacki,” says Winnipeg dancer and choreogra- pher Kathleen Hiley, daugh- ter of dancer, choreogra- pher and edu- cator Peturs- son-Hiley. She was 76. “Stepha- nie was our matriarch, a champion for dance, for the arts, and for the many lives she touched through her mentorship,” Hiley says. “She carried herself with a grace that was both timeless and striking: always elegant, perfectly put together in a sleek black outfit, impossibly large sunglasses, a string of pearls, lipstick and a glass of Char- donnay.” Born in San Francisco in 1949, Ballard arrived in Winnipeg in 1972 at the age of 23 and began what would be decades-long association with both Winnipeg’s Contemporary Dancers — where she inhabited many roles, including that of apprentice, company member, associate artistic director, archivist and artist in residence — and the School of Contemporary Dancers. It was also at WCD that Ballard be- gan her prolific and celebrated career as a choreographer, creating a massive body of work that is still performed today. Ballard was not only a deeply influ- ential figure in the local contempo- rary dance scene, she also had a huge national and international presence. She choreographed on such Canadian soloists as Margie Gillis and Peggy Baker. She was an artistic advisor for Peter Quanz and Q Dance. She was fêted with Canada’s most prestigious awards for choreography, including the Clifford E. Lee Award, the Jean A. Chalmers Award and the Jacqueline Lemieux Prize. “Stephanie could have built a career anywhere she chose, but the personal bonds she forged in Winnipeg were something she valued deeply,” says Mi- chael Crabb, Toronto Star dance critic and author of a biography of former Royal Winnipeg Ballet artistic director Arnold Spohr. “And so she stayed; a gain for her and for the city she came to love.” Faye Thomson, co-director/co-found- er of the professional program at School of Contemporary Dancers with Odette Heyn, met Ballard as WCD apprentices; a lifetime of artistic col- laboration and friendship followed. “Gaile, Odette and I were honoured to perform in Stephanie’s many brilliant and luscious choreographic works,” Thomson says. “Our intimacy as choreographer and dancer deepened when she created a beautiful solo for me, Prayer. This became known as one of her iconic pieces. “In later years, my daughter Robyn (Thomson Kacki) performed her works and Stephanie was so deeply delighted with this multi-generational legacy.” Gaile Petursson-Hiley remembers Ballard as both her best friend and her favourite choreographer. “I was very lucky. Just about every milestone moment in my life was con- nected to Stephanie — she just made things happen for you,” Petursson-Hi- ley says. “As an artist, to do any of her works, you really worked with her. She really figured out who you were as a dancer and you were able to bring that to the work. She made you take risks.” For Petursson-Hiley’s daughter, Bal- lard was family — her godmother and, later, her mentor. “I grew up watching my mom dance her works, as I mimicked the move- ments in our living room and dreamed up my own,” recalls Hiley, who has been performing Ballard’s works as a solo artist since 2010. “She became my mentor when I was only 13 and, for two decades, I have had the honour of dancing for her professionally, continu- ing to carry her vision forward.” Indeed, Ballard was a big believer in legacy, a quality that was also reflect- ed in her relationships with her own mentors. She forged deep connections with WCD founder Rachel Browne, who died in 2012, as well as Spohr, who died in 2010, and worked hard to keep their legacies alive through various archival and preservation projects. “Together we started the Arnold Spohr Society — which was her, myself and my children — as a way to remem- ber him,” recalls former RWB artistic director André Lewis, who was also mentored by Spohr. “Stephanie was such a significant part of Winnipeg dance culture. She contributed enormously to contempo- rary dance, in particular, and she was a great friend of the RWB also. I will miss her sense of humour,” Lewis says. Michael deConinck Smith, managing director of Canadian Contemporary Dance Theatre in Toronto, also remem- bers Ballard for her sharp, quick wit. “Stephanie caught me going on once about the wonders of back-country camping under a blanket of stars, etc., etc.,” he recalls via email. “She drily observed, ‘The only stars I’ll sleep under are five-stars.’” “Stephanie could come across as what used to be described — impo- litely, perhaps — as a tough cookie,” says Crabb, who has known Ballard for more than 50 years. “It was something she could turn on at will to guard, I believe, a very tender, vulnerable and emotional side of her character.” Current WCD artistic director Jolene Bailie, who performed such Bal- lard-choreographed works as the mer- maid-inspired solo Mara during her career as a dancer, recalls Ballard’s unwavering support and passion for the organization where she launched her career. “Stephanie continued her connection to WCD all throughout last season, our 60th anniversary. She Zoomed in to watch show runs. She had a keen inter- est in what we were doing, especially our tribute to Rachel Browne, and who was dancing with the company. She of- fered to donate money so we could buy new costumes. She really had a love of the Winnipeg dance community.” Ballard’s work will continue to live on in the dancers she brought up behind her. Just two weeks ago, Hiley returned from touring Ballard’s work A Gathering through Mexico and the United States. “Though created more than 30 years ago, its celebration of the cycle of womanhood resonated profoundly with audiences everywhere,” Hiley says. “People sought us out, eager to know more about Stephanie. Some told us they went home and searched for her, wanting to watch her dances over and over again. “When I shared this with her, she was deeply touched, humbly saying how it meant the world to her that her work was alive, ‘carried with grace and artistic integrity, making even a small difference to people and places.’ “And now, just as in her work A Gathering, I know the Bird Goddess is watching over her, protecting her spirit and guiding her into the next great passage.” jen.zoratti@freepress.mb.ca JEN ZORATTI TREVOR HAGAN / FREE PRESS FILES TREVOR HAGAN / FREE PRESS FILES Ballard (left) with prima ballerina Evelyn Hart backstage at a tribute to Arnold Spohr at the Centennial Concert Hall in 2004. SUPPLIED Ballard was known for her sense of style. SUPPLIED Ballard in 1987 STEPHANIE BALLARD OBITUARY Choreographer Stephanie Ballard (centre) is sur- rounded by dan- cers representing Drive Dance, NAfro Dance and profes- sional students from the School of Contemporary Dancers at a performance in honour of Mother Teresa in 2016. ;