We aren’t trying simply to shift art that is meant to be experienced live to carbon copies online. Online collaborations that produce work that is meant to be experienced online can continue along with attending concerts at the concert hall.
What follows are my memories, my perspectives, and my recollections of my Fringe experiences, and thus may contain but are not limited to accurate depictions.
Here at Intermission we strongly believe that providing a platform for theatre artists to elaborate on the ideas behind the work they are making is important to establish a dialogue with current and potential audience members. This March we entered our fourth year, so we’re revisiting some of the work that has most spoken to our … Continued
Cineplex’s Stage Series is making it easy to see world-class theatre, like National Theatre Live and Stratford on Screen productions, across Canada.
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.
How to Fail as a Popstar is partly Vivek Shraya trying to break from the role of accomplished trans artist she’s been cast in—to own the complex and contradictory nature of who she is as a person and artist.
It’s just interesting that the size of the theatre and the size of the budget is a deciding factor. Stratford has yet to have a woman lead the theatre in a solo fashion. And that day will come, I have no doubt.
Martha never thought she would be a director. As far as experience had taught her, directors were men. There were a few female directors that she was aware of, but it wasn’t the norm […] Directing jobs at The Grand and Tarragon followed, and Martha felt she always had to get over the initial hurdle of colleagues accustomed to only working with a male director. Technicians made fun of her if she asked what they felt was a stupid question, or ignored her if the question was smart
How do we push the narrative forward within the black experience if we don’t choose to challenge our voices and what we are capable of?
What is feminist theatre? Who is it for? Is it for everybody? And what does feminist theatre look like today, in Canada? I needed to wrap my head around all of these questions. To do so, I decided to go straight to the source and sit down with some female theatre artists.
Co-directors of Every Day She Rose, Sedina Fiati and Andrea Donaldson talk intersectionality, Pride, and making space in friendships.
TO Live President Clyde Wagner discusses their upcoming Dance Collection with Canadian Stage, featuring acclaimed local and international artists.
Pass Over puts audiences in an uncomfortable position, and I think that’s necessary. Sometimes the people who have been comfortable the longest need to be uncomfortable for a change.
These are the truths that I can’t help but come to this story with.
It’s the beginning of the end for Fleabag. But National Theatre Live, in partnership with Cineplex Odeon, is helping Canadians take part in the production’s final moments as they happen in the UK.
Typically known for directing contemporary feminist works, Donaldson insists the interplay of love and betrayal keep this work as relevant today as it was four decades ago.