As a writer, she is currently developing her second play through Black Ink Collective, with an upcoming reading at Factory Theatre. She most recently assistant directed Repercussion’s Measure for Measure and The Wolves at Crow’s Theatre, and will be working with Studio 180 as their RBC Emerging Director this Spring. She is also a writer and emerging director. Rebecca is a bilingual actor who has had the pleasure of working both in Montreal and in Ontario.
Upcoming: Amelia looks forward to doing the world première of Ann-Marie MacDonald’s new play, Hamlet 911, directed by Alisa Palmer, at Stratford in 2020.Īs a Montrealer who grew up going to the Centaur, Rebecca Gibian is so thrilled to be making her Centaur debut. Other favourite credits include: Luciana in The Comedy of Errors (Stratford) Constanze in Amadeus (TIFT) The 39 Steps (META nomination for Outstanding Ensemble) and The Madonna Painter (Centaur Theatre) Viola/Cordelia in Twelfth Night/King Lear (Canadian Stage) The Watershed and Seeds (Crow’s Theatre/Porte Parole) The Millennial Malcontent (Tarragon Theatre) Philomela in If We Were Birds (META nomination for Outstanding Lead Actress) and Laurel in down from heaven (Cartes Premières Award for Best Actress – Imago Theatre) Jamie in The Incredible Speediness of Jamie Cavanaugh (Carousel Players) and six seasons of Shakespeare-in-the-Park (Repercussion Theatre). In this way the free will of Adam and Eve (and Satan) remains basically free, but still fits into God’s overarching plan.Amelia is so excited to be doing this searingly powerful play in her beloved hometown of Montreal! Recently she played Desdemona in Othello and Peggy in The Front Page at The Stratford Festival. This idea says that God allowed the Fall of Man so that he could bring good out of it, possibly more good than would have occurred without the Fall, and be able to show his love and power through the incarnation of his Son. This possible predestination leads to the theory of the “fortunate fall,” which is based on Adam’s delight at learning of the eventual coming of the Messiah. In describing the Fall before it happens, God already predicts how he will remedy it and give greater glory to himself by sending his Son to die and restore the order of Heaven. God purposefully lets Satan escape Hell and sneak past Uriel into Eden, and basically orchestrates the whole situation so that humanity can be easily ruined by a single disobedient act. Milton did not believe in the Calvinistic idea of “predestination” (that God has already decided who is going to Hell and who to Heaven), but he often comes close to describing a Calvinistic God.
Some critics have claimed that the God of the poem undercuts his own arguments, however. God specifically says that he gives his creatures the option to serve or disobey, as he wants obedience that is freely given, not forced. Milton’s God exists outside of time and so sees all times at once, and thus can see the future without actively affecting it.
In Paradise Lost Milton argues that though God foresaw the Fall of Man, he still didn’t influence Adam and Eve’s free will.
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