“There’s just a lot of really cool energy in the building right now,” says artistic director Mary Francis Moore. “Theatre Aquarius is an exciting place to be in this moment.”
His creations brought together all the joy and terror and beauty and chaos of being alive.
“This play is really interesting, because whatever you think it is, it’s not going to be that,” says actor Maryse Fernandes.
“Nightlife trends come and go,” says witzel. “But there’s no reason a queer party space can’t be a creative site as well as a way to fund art.”
Get to know the stacked cast behind this year’s production of Rent at the Stratford Festival, from Andrea Macasaet to Robert Markus!
“Authenticity may include trauma or suffering, but it doesn’t have to end in sadness,” says playwright Marie Beath Badian. “It isn’t the end of the story and it isn’t the point of the story.”
Follow along with Rent star Masini McDermott as she takes you through a day in her life at the Stratford Festival!
By far, the best part of Fringe season is the people: artists like Nam Nguyen, who captivated the city last year with his Fringe musical about soup, and administrators like Lucy Eveleigh, executive director of the Fringe and one of the most respected artistic leaders in Toronto.
We hired an AI theatre critic. Her breath is immaculate. She’s not once crammed a sandwich down her throat on the walk to the theatre, savouring the onions, the oil. She’s never been bloated, and she’s never, ever, been the monster to blame for a mid-play fart.
Hey, Toronto’s next mayor: we at Intermission have some viewing recommendations. Who knows? You might be a better leader having seen them.
“We acknowledge and embrace the power of theatre and still very much feel the way it can be medicine,” says Beagan. “But also we want people who have internet access, but not access to go to live theatre, to be able to see our work. That’s really our big motivator.”
“I was thinking about which histories we actively remember, we choose to remember, and which ones we choose to forget and how important that is.”
“I think travel has the potential to open up some great conversations between people with very differing life experiences,” says Alex Bulmer ahead of her new show, Perceptual Archaeology (Or How to Travel Blind).
This is the heart of what (Re)Casting Shakespeare is about: examining how casting can influence the audience’s interpretation of the story.
“[Directing Maanomaa, My Brother] was about putting a magnifying glass on what the story was…like making ghee, or butter without all the solids that could go bad.”
“It’s important to move forward with love and hope because to choose any other path will just elongate how long you are uncomfortable.”
