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Julie Foster
Originally from Toronto, Julie Foster is a graduate of Concordia University, having studied as a Major in Playwriting. She has had her plays and clown pieces performed at the Gala for Student Drama at the Mainline Theatre in Montreal, the SIPA Short Works Festival at Concordia University, the Montreal Fringe Festival, the SOLOS Festival, and OPIA Theatre’s Dark Crop Festival. Her play The Tenth Muse was performed as part of Filament Incubator’s second season and was nominated for a My Entertainment World Award for Outstanding New Work. As well as working as a playwright, Julie is a stage manager, having participated in shows at Concordia University, the Mainline Theatre, Marianopolis College, the Alumnae Theatre, Shakespeare in Action, and with Spur of the Moment Shakespeare Collective. Julie has also been a member of the Young Innovators Unit at Nightwood Theatre.
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iPhoto caption: Jane Spidell in 'Twelve Dinners.' Photo by Dahlia Katz.
REVIEW: Family tensions run high in TIFT’s intimate Twelve Dinners
In the now-closed Twelve Dinners, an autobiographical play written and directed by Steve Ross, audiences received intimate access to an unvarnished version of a younger Ross through 12 evening meals with his parents.
iPhoto caption: Members of the company of 'Narnia.' Photo by Dahlia Katz.
REVIEW: Bad Hats’ Narnia is a joyful, heartwarming escape
The spirit of openness and the joy of discovery rule over this Narnia. Open the wardrobe and see.
iPhoto caption: Members of the company of 'Robin Hood.' Photo by Dahlia Katz.
REVIEW: Canadian Stage’s Robin Hood panto is anti-capitalist fun for the whole family
Following Ross Petty’s legacy of scene-stealing, Damien Atkins as the evil Prince John is easily the greatest delight of the show.
iPhoto caption: Lauren Gillis and Alaine Hutton in 'Public Consumption.' Photo by Eden Graham.
REVIEW: Lester Trips’ stylish Public Consumption captures the internet’s profound emptiness
Rather than directly representing online life, Public Consumption speculates — with virtuosity — about how the digital world affects our bodies. And the show's findings are by no means comfortable.
iPhoto caption: Tony Ofori and Daren A. Herbert in 'Moonlight Schooner.' Photo by Dahlia Katz.
Kanika Ambrose’s Moonlight Schooner is animated and visually stunning, but its individual pieces don’t come together as neatly as I would've expected.
iPhoto caption: Photo by Fabian Hammerl.
In A a | a B : B E N D, choreographer Aszure Barton aims to rebuild dance from the inside out
“It’s so easy to over-intellectualize dance in general, but B E N D is about hearing and moving to cool-ass music together,” says Barton ahead of the show's run at the Bluma Appel Theatre.
I’m Happy Just to Freelance with You
Just like normal: don’t feel bad to charge for your art. Artists deserve to get paid— and if we aren’t paid we will have to stop making art.
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