The Centre for Drama, Theatre & Performance Studies (CDTPS) is proud to be home to two Rhodes Scholars: recently awarded Rhodes Scholar Noah Rudder, a fourth-year drama major, and Professor Baņuta Rubess, a directing and acting instructor. We had the opportunity to sit down with them to explore their experiences as both theatre artists and Rhodes Scholars.
Established in 1902, the Rhodes Scholarship is one of the world’s most esteemed international awards. While it is celebrated as a marker of academic excellence, the program has faced criticism for its exclusionary practices. Women were only admitted to the scholarship beginning in 1977, and Professor Rubess was part of the second cohort of women to receive the honour in 1978. Writer, philosopher and educator Alain LeRoy Locke was the first Black person to win a Rhodes Scholarship in 1907. It would be more than 50 years later, in 1963, when another African American would be named a Rhodes Scholar.
Banuta Rubess: Breaking the Mould
"I was discouraged from applying for the Rhodes, not just because I was a woman," said Rubess, reflecting on her decision to apply in the late 1970s. "But also because of my politics and my unathletic-ness."
At the time, Rubess wasn’t involved in student unions or sports teams. Instead, she was organizing student support for a labour strike and working at the Women’s Centre to advocate for women’s liberation. Her extracurriculars included non-competitive swimming, Latvian folk dancing, and leading her own theatre ensemble.
Rubess’ interview for the Rhodes Scholarship took place at the University Club on Avenue Road, a venue then exclusively for men. "When I walked in, I looked around and thought, 'I am so unlike these people that either I have zero chance of getting it and I’ve just been a kind of entertainment for them, or I have a real chance because I'm so different.'"
Rubess stood out. Rather than pandering to the committee members, she debated with them. She even took time to engage with their wives, who, she noted, no one else was speaking to. After receiving the scholarship, some committee members commented, “By the way, my wife really liked you.”
Noah Rudder: Theatre and Public Policy
As Rudder was approaching the end of his undergraduate studies with a double major in drama from the CDTPS and peace, conflict, and justice from the Munk School of Global Affairs & Public Policy, he began thinking about his next steps. He knew he wanted to pursue a master's degree and was looking for a fully-funded program. Around that time, Victoria College reached out to him, informing him that he had been identified as a potential nominee for the Rhodes Scholarship and should apply.
“I did the interview, and one thing led to another. Now I get to do this really cool and privileged thing—study at Oxford and complete my master’s, hopefully while doing a lot of theatre,” Rudder shared.
During his Rhodes interview, Rudder was spontaneously asked to perform a monologue, which was incredibly well-timed as he had been rehearsing for a lead role in Murder on the Orient Express at Hart House Theatre.
At Oxford, Rudder plans to continue his acting practice while pursuing an MA in public policy. His love for theatre began in sixth grade when he was cast as John, Wendy’s little brother, in Peter Pan. "I really fell in love with the process," said Rudder. "It’s still a love that I have to this day—the practice of going to rehearsals, finding breakthroughs, meeting people, becoming friends, finding the chemistry, and discovering things."
Diversity in Higher Education and the Undervaluing of the Arts
Rudder recalls the culture shock he experienced when he began university. He became increasingly aware of the lack of diversity in higher education. As the only Black member of Trinidadian heritage in his sketch comedy troupe, The Bob Revue, Rudder actively seeks to inject this underrepresented perspective into all that he does.
“The way I've been able to reckon with it in my undergrad has been to really crack down on staying true to myself and the things that I grew up with and the hallmarks of my culture,” said Rudder. “Any time I get to create my own art, I always try to inject a sense of myself in it and sort of remind people of my own positionality.”
Both Rudder and Rubess reflect on how undervalued the arts are, especially in North America. Despite this, Rubess points out the undeniable influence of the arts on daily life. "I tell my Rhodes Scholar friends, ‘Any ad you see, any TV show you watch—those people who are making it went to theatre school. They went to art school, or they thought about music in a very serious way. This didn’t happen by magic.’"
Rudder, who grew up in an artistic family, is acutely aware of the pressures in the arts sector. He notes that the arts are often the first to suffer cuts in times of financial constraint. There were times when Rudder hesitated to tell people he was pursuing drama, fearing negative reactions. Now, he realizes that the theatre is central to who he is, and he proudly shares it. He suggests to others who have a creative passion to not deny it.
“Stay true to yourself because that will always shine through and you're going to be better at the things that you're passionate about,” said Rudder. “You're going to be more interested in things that you want to study and want to pursue further.”
The Rigorous Discipline Behind the Art
Theatre artists are often stereotyped as being overly ‘dramatic’, but Rubess and Rudder emphasize that the reality is much more demanding. Behind every performance there is immense self-discipline and hours of rehearsal.
“You need to show up every night—even when you have a headache, even when your husband just died, even when your child is sick,” Rubess explained. “You're going to do this show and that requires a certain rigour that is really deep in anyone who has made theatre over any significant course of time.”
Both artists share a deep love for the creative process, which, in many regards, is more important to them than the final moment when the curtain rises.
"It’s what we’re doing in the room—the community building, a transformative thing where you learn to trust each other implicitly,” said Rubess. “Those are deep human lessons that we’re teaching that also move us towards social change.”
Both Rubess and Rudder are inspiring examples of how the discipline of theatre and the context of academia can intersect in meaningful and transformative ways. Their accomplishments as Rhodes Scholars serve as a testament to the power of staying true to one’s passion.
“I think that there's a lot of opportunity there [Oxford] for me to maybe surprise some people and teach some people things,” said Rudder.
Watch the highlights from our interview with Rubess and Rudder.