We sat down — over Zoom, of course — with Artistic Director Chris Abraham and Executive Director Sherrie Johnson to chat all things Crow’s: where the company’s been, where it is now, and where it’s heading as the world makes sense of yet another new normal.
Some pieces in Crow’s upcoming season are live only, some are digital only, and some are available in whichever form you’d prefer: this season at Crow’s is here to address “the now,” wherever audiences may choose to listen.
In my heart there is anger; sadness; grief for my more naïve self. Because after Dear Evan Hansen, I do not feel as if I’ve been found, as the film’s tagline so bravely promised I would be. I feel instead as if I’ve been left behind to atrophy in the Music Box Theatre some five hundred miles away, a nineteen-year-old ghost in an echoing auditorium.
The Listeners is not a cult narrative, or a Stephen King-wannabe, or a Lolita aftershock — Tannahill’s second novel is a triumph all its own, posing urgent (and at times beautiful) questions against a distressing context of disinformation.
As in-person Toronto theatre slowly re-opens, Intermission’s Editors will be sharing personal reflections on the realities of being back in the theatre. These are not criticisms or reviews. They are not blog posts. They are memories of being caught in the middle of a theatre renaissance. They are an archive. They are history.
“We’re coming back. We’re coming back stronger.”
Five Ontario-based theatre artists received prestigious awards for their work in the performing arts.
“Because our theatres have been shuttered during the pandemic, there is no one and nothing to nominate. So, instead, we’re celebrating the fabulous recipients of the Dora Ancillary Awards,” said Jacoba Knaapen, Executive Director of TAPA.
It feels strange to say I miss you – it feels stranger to say I don’t.