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When theatre director , walked into orientation for the Master of Fine Arts program in Drama at the University of Calgary, she had already spent decades building a career on stages across Canada.

鈥淚 sat around and looked at this room with seven other people I鈥檇 never met,鈥� she recalls. 鈥淚 was so nervous and so scared and so excited.鈥�

At the time, Brewin had already worked for nearly thirty years in professional theatre, creating new Canadian work and leading theatre companies. But she had reached a moment of reflection.

鈥淚 started to get tired,鈥� she says. 鈥淚 started to find myself repeating myself in the work I was doing.鈥�

Encouraged by colleagues to consider graduate study, Brewin decided to take an unexpected leap: stepping away from the theatre company she was running and returning to the classroom.

What she found at the University of Calgary was both demanding and liberating.

Returning to the Classroom 

For Brewin, entering the MFA program meant shifting from the pace of professional theatre production to the slower, more reflective environment of academic study.

鈥淲hat struck me most was that I didn鈥檛 have to be in charge of anything anymore,鈥� she says. 鈥淭he university had a structure, and my job was to think, study and reflect.鈥�

After years of managing productions, writing grants, and leading creative teams, that change proved transformative. 

鈥淚 didn鈥檛 have to worry about the to-do lists or the logistics,鈥� Brewin says. 鈥淚 could focus entirely on reflecting on the work I鈥檇 already done and asking new questions about it.鈥�

The university environment also offered a wide network of support, from professors and administrative staff to librarians and writing tutors. 

鈥淚 was terrified of writing essays,鈥� she admits with a laugh. 鈥淧utting two words together in a sentence that didn鈥檛 sound stupid was daunting.鈥� 

But that challenge ultimately became one of the most valuable parts of the experience.

Learning to Articulate the Work 

During the program, Brewin worked closely with several faculty members whose mentorship shaped her thinking, including Pill Hansen, Bruce Barton and Laurie Radford.

Hansen鈥檚 theatre research methods course, she says, was both the most intimidating and the most influential class she took. 鈥淚t was the most terrifying course I鈥檇 ever taken,鈥� Brewin says. 鈥淏ut it absolutely saved me when I wrote my thesis.鈥�

The course introduced students to different research methodologies and encouraged them to apply scholarly frameworks to their creative practices.

For Brewin, that approach helped her articulate ideas she had long explored intuitively as an artist. 鈥淓verything we do in theatre is about communication,鈥� she explains. 鈥淵ou鈥檙e communicating with collaborators, with audiences, with funders, with the public.鈥�

Learning how to clearly express the purpose and vision behind a creative project, she says, is essential to sustaining a career in the arts. 鈥淲hen you can articulate your ideas clearly and authentically, the passion behind the work becomes visible.鈥�

The Power of a Cohort 

Just as important as the formal coursework was the sense of community Brewin found within her cohort. Her classmates came from diverse backgrounds and experiences, creating an environment where ideas were constantly challenged and expanded. 

鈥淢y cohort were my mentors,鈥� she says. 鈥淲e had such a good time together.鈥� 

One moment in particular stands out. 

Facing an imminent deadline, one student in the group found themselves unable to finish a required bibliography. Instead of leaving them to struggle alone, the entire cohort gathered in a small office and worked together to help them complete it. 

鈥淓veryone rolled up their sleeves,鈥� Brewin remembers. 鈥淪ome people looked up sources, someone checked punctuation, someone else organized references.鈥� 

The collective effort turned a moment of panic into one of solidarity. 鈥淚t was unabashed support,鈥� she says. 鈥淭here was no question we were going to help this person get across the finish line.鈥�

From Independent Theatre to Institutional Leadership 

Before beginning her MFA, Brewin had spent much of her career working in independent theatre across Canada. She led companies in both urban and rural settings, staging productions in unconventional spaces from the back alleys of downtown Toronto to rural outdoor stages.

After completing her studies, however, she stepped into a new role leading a much larger institution: Globe Theatre in Regina, one of Canada鈥檚 major regional theatre companies.

The transition brought new responsibilities.

鈥淢y decisions suddenly meant 130 people went into action,鈥� she says. 鈥淎nd thousands of audience members would experience the results.鈥�

The scholarly training she received during her MFA proved invaluable in that context.

鈥淚t fortified my ability to communicate why I was making certain choices,鈥� Brewin explains. 鈥淣ot in a marketing way, but in an authentic way.鈥�

Being able to clearly articulate artistic vision to staff, collaborators, and audiences became a critical leadership skill.

What Graduate Study Really Offers 

Looking back, Brewin sees graduate study less as a credential and more as a process of intellectual development. 鈥淕etting an MFA in directing isn鈥檛 what gets you a directing job,鈥� she says. 鈥淯nderstanding your craft and your connection to it鈥攖hat鈥檚 what gets you the job.鈥�

The true value of graduate education, she believes, lies in the rigor of the process: learning how to think deeply, question ideas, and articulate creative purpose.

鈥淵ou get out of it what you put into it,鈥� Brewin says.

For artists considering advanced study, her advice is simple: 鈥淯se it as a time to discover how you think and what you care about. The degree matters but what matters more is the work you do while you鈥檙e earning it.鈥�