All the Little Worlds: Reflections on Directing with Martha Henry, Diana Leblanc, and Marti Maraden – Part 2

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

Painting A Picture About Feminist Theatre

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.

The Greatest Showmance

“Showmance” is not a real word; it was invented by people in the acting industry. For those of you not familiar with the term, this is how Steffi DiDomenicantonio’s dictionary defines the word: two co-stars are working together in a show and are playing love interests. Time passes and the onstage feelings get confused for real-life feelings.

A Man, a Rope, a Cowboy

Fool for Love marks Eion Bailey’s Soulpepper debut and his return to the stage after decades of film and television work. Soulpepper invited us to watch a rehearsal of Fool for Love, and we spoke with Eion and others about the process of learning the unique skill of lassoing.