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My name is Glitter Esquivias. I’m a Beedie Luminary from Cohort 2022 of the SHINE program, a Secwépemc First Nation multi-disciplinary artist, and a third year student of Capilano University’s Acting for Stage and Screen (ASAS) program.
Before you ask, yes, that’s my real name. I got it for my birthday.
In my youth, I often pushed away the idea of being First Nations, or Native. It was difficult to find and consume media with genuine Native representation. Eventually, I learned to accept that it would be a long time before I’d find myself correctly represented and elected to settle with low expectations and an open mind.
However, as with many things I’ve learned at CapU, my educators have fruitfully proved me wrong.
In their third and final year in the ASAS program at CapU, students rehearse and perform in a fully staged play at their Blueshore Theatre. One such show is an adaptation of Bram Stoker’s classic by Kate Hamill, Dracula: A Feminist Revenge Fantasy. Really., directed by Cathy Wilmot and director of movement Keri Minty. I have been cast as Doctor Van Helsing, a doctor turned vampire hunter. An excitingly combat-heavy part.
Historically, Doctor Van Helsing is an old white guy from Amsterdam. Nothing wrong with that, of course. It’s not unheard of for actors to transcend gender in their roles, especially in theatre.
This adaptation by Kate Hamill is remarkable because in true feminist revenge fantasy fashion, Doctor Van Helsing is female. She’s direct, she’s smart, and she knows how to fight. She’s also American, which stands out against the rest of the cast’s British accents.
The brains of director Cathy Wilmot and director of movement Keri Minty are ever flowing with ideas, one of which was presented to me at the beginning of the semester. “You’ve spoken openly about being Indigenous,” Cathy said. “How would you feel about making Van Helsing an Indigenous character?”
I immediately jumped on that idea. I knew it would have to stay within the logistics of the show’s universe, so like a sort of “pull inspiration” thing. But a chance to incorporate my own culture into a character as unapologetically powerful as Doctor Van Helsing? It’s so personal. I felt so much pride. I excitedly ran home that day and pulled together a collection of images and information about my nation for the designers to be inspired by. I really appreciate how everyone involved handled this process with respect and grace. The final product, while subtle, pulls aesthetic inspiration from these sources. It’s tasteful, and I love it.
The costumes and set of Dracula were designed by Brian Ball.
One of the biggest things I’ve learned in my time at CapU is the value of creating new ideas and challenging pre-existing ones. Coming away from this experience makes me think of my younger self. She would be blown away by how much I’ve grown, not just because I’m running around the stage slaying vampires with wooden stakes, but because the one doing so is so unapologetically herself. That’s something I’ve struggled with my entire life, is that imposter syndrome. To have belief in myself, in my own work. I’m definitely not fully there yet either, there is SO much I have yet to learn, but I love it. It’s also vital to acknowledge where I’ve come from.
Representation matters, and I could not be more grateful to the creative team on Dracula for providing me with such an amazing opportunity. Thank you.
Come watch Dracula at CapU! Nov 15 – 22, 2025.
Visit www.caputheatre.com/2025-2026 to get your tickets! (they have student rated tickets too!)
Insta: @capu_theatre
Dracula: A Feminist Revenge Fantasy. Really.
By Kate Hamill
Set and Costume Designer:
Brian Ball
Insta: @brianball_theatredesign
Lighting Designer:
Hina Nishioka
Insta: @hinanishioka
Director
Cathy Wilmot
Insta: @cathywilmot
Director of Movement
Keri Minty
Insta: @mammamints
Photography:
Mia Sage @arts_death_
Actors:
Kamil Whaley-Kalaora: @kamilwkgalaxy
Abbey Randall: @abbey.rands
Maya Hickling: @maya.hickling
