In a life already full of fascinating chapters, Soheil Parsa has turned another page. Early this summer, Parsa stepped down as co-artistic director of Modern Times, the theatre company he co-founded three decades ago with Peter Farbridge. The “dream” now for Parsa, as he characterizes it, is to work as a freelance director, liberated from fundraising and administrative responsibilities.
Alan Dilworth is on a journey. An educator who became an actor who became a writer who became a director who became an artistic director, he articulates his relationship to theatre as one of continual discovery.
“What I see in her writing is a tremendous amount of character detail and an ability to create characters that contain contradictions, who are very much sitting inside the oppositions that exist within them. That to me is a real sign of a great writer, like a Chekhov.”
For Gillis, the invitation that occurs between the show and the audience exists in the music.
Had things gone differently with Soulpepper’s programming, another production entirely might have been in its place this season. And, had things gone differently in Jani’s early years as an artist, she might not have grown into the fierce matriarch of Indigenous theatre that she is.
Daniel Brooks is a writer, an actor and a director, and in the course of a substantial career (he’s now sixty) he has often combined at least two of those roles on a single project.
Shining the spotlight on Canadian playwright Erin Shields, who discusses making it in the theatre world with her play If We Were Birds and her new play Beautiful Man.
“I am the authority on who I am,” proclaimed Walter Borden on a rainy April evening as we discussed identities and how we present ourselves to the world.
“Making work no longer using my own body in action as the source,” Baker says, “I’ve needed to develop new tools.”
“It’s got to be words first, ’what’s being said here?’ Setting other people’s words to music is what I’ve always done, and this is the apex of that”
When you speak, Weyni follows your words like a map, as though she expects you to be profound, as though she believes that the next word you say might hold the key to an elusive treasure.
“I can write about theatre, I can write about dance, I can do classical music, I can do book reviews,” Jon told the editors of NOW. “I especially love theatre.” He was hired.
Three Toronto theatre reviewers joined us for a round table conversation about the state of criticism in the city.
“You learn from failure, not from success.”
Eda Holmes takes a unique approach to storytelling that incorporates her interest in rarely told points of view as well as her background as a dancer.
“If you don’t embrace fear and risk getting it wrong, you’ll never find something new, something inventive, something beautiful.”
