In spite of a challenging year for the production team, audiences gathered en masse to experience the latest installment of the DAN Studio Series: “Resilience.”
The 2024-25 DAN Studio Series (DSS) team premiered five plays—The Things We Lost & Never Found, Halfway to Nowhere, The Five Stages of ‘Grief’, Carter v. Condoms, and Danse Infernale—at the Tett Centre for Creativity and Learning from Oct. 30 to Nov. 3. Under the titular theme of “Resilience,” DSS Co-Producers Sinead Allen, ArtSci ’25, and Lucas Nasu Nielsen, ArtSci ’25, assembled a cast and crew of 53 Queen’s students to create, direct, design, and star in the shows.
For regular DSS attendees, this year’s show had a different feel—and venue. “Typically, DSS operates in the Rotunda Theatre for free and has access to all of its equipment, so losing our venue was a huge blow,” Allen said in an interview with The Journal.
READ MORE: Drama students left without a stage after curtains close on Rotunda Theatre
The news of the Rotunda’s closure shocked Allen and Nasu Nielsen. “The day after Sinead and I were hired, it was announced. […] We were thrown into it right away,” Nasu Nielsen shared.
Despite the challenge of adapting to their new home at the Tett Centre, Allen, Nasu Nielsen, and their dedicated team united to create a compelling lineup of short plays, proving their commitment in the face of setbacks.
The Tett space was transformed into a warm, welcoming venue that wrapped the audience in a sense of closeness, perfectly suited to the intimate and personal stories on stage.
The show kicked off powerfully with The Things We Lost & Never Found, a cleverly intense piece written by playwright Charlie Hensel, ArtSci ’25. Under the skilled direction of Alice Battista, ArtSci ’25, the actors delivered gripping performances that skillfully balanced tension with emotional depth, setting a high bar for the rest of the night.
Next up was Halfway to Nowhere, a dry, comedic study of the afterlife—or the space that exists just before it. Actor Zara Smith, ArtSci ’26, captivated the audience with her authentic, relatable humour, earning plenty of laughter and applause along the way.
Closing the first act was The Five Stages of ‘Grief’, a raw and poignant exploration of relationships and self-love. Grace Delamere, ArtSci ’25, gave a heart-wrenching performance as “Anger,” leaving many in the audience visibly moved.
After intermission, Carter v. Condoms, written by Henry Freedlander, ArtSci ’25, re-energized the audience with its hilarious and insightful take on masculinity and safe sex. The crowd was taken by surprise with an interpretive “sperm dance,” keeping the audience in stitches from start to finish.
The series concluded with Danse Infernale, a Black Swan-esque piece, which followed two dancers grappling with a shared traumatic past. The choreography and direction were a true standout, showcasing the talent and emotional range of the DSS community and ending the show on a powerful note.
The title and theme, “Resilience,” reflected the show’s spirit.
When naming this year’s theme, “We kind of said it as a joke, [but] it really encapsulated what we were trying to get out of DSS,” Nasu Nielsen said.
Allen noted the resilience of the whole DSS team, emphasizing the group’s hard work. “Even though the DAN School [of Drama and Music] keeps making it harder for DSS to operate, DSS is still operating at full function.”
This resilience, however, goes beyond just overcoming logistical hurdles—it’s at the heart of what DSS represents.
More than merely a series of performances, DSS embodies a culture of growth, experimentation, and continuous learning that could prove useful for students’ future. “The point of DSS is to workshop shows. […] This isn’t the final product,” Nasu Nielsen explained. “A lot of them are going to be workshopped more, and maybe submitted to Fringe festivals,” Nasu Nielsen added.
DSS also stands out for its inclusivity and accessibility, welcoming students from all disciplines, not just those in the DAN School. “Anyone with an interest in theatre can get involved,” Allen said.
From facing unexpected challenges to stunning performances, every aspect of the 2024 DSS production reflected the unwavering commitment of its students to push boundaries, learn, and grow.
As the series continues to evolve and operate, one thing is clear: DSS isn’t just a piece of theatre—it’s a testament to the power of community, adaptability, and the unyielding pursuit of artistic expression.
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