Decolonizing One Stage at a Time
“If we can laugh together, then we can cry together and maybe even fix some things.”
Finding Home in Art
“It may be over a hundred years ago when The Cherry Orchard was written and first performed, but there is nothing about it that is passé.”
Navigating Art and Censorship
“Where do you as an audience member, where do any of us place our faith?”
Securing the Future
“I don’t want to engage artists as mouthpieces. What would it mean to embed you in the DNA of this project?”
From Inspiration to Creation
Night is not an absence, not a time-out, but a rich, enchanting world that can offer us so much more than we know.
Centaur Theatre Celebrates Fifty Years, and Beyond
As its newest production—The Children, starring three Canadian acting legends—hits the stage, artistic director Eda Holmes looks to a future of showcasing Montreal artists at Centaur Theatre Company.
History Reimagined Onstage in The Royale
Historical fiction allows playwrights and audiences alike the freedom to imagine the struggles, sorrows, and victories of the people who came before us and to move beyond the constraint of fact.
The Disciple, the Son, and the Story: A Conversation with Leighton Alexander Williams
“We’re living in a time where we were seeing ourselves being killed on social media,” Leighton says frankly, “this is not just a hot topic, it has to mean something.”
The Poet, the DJ, and the Stage
Oraltorio has become for Motion and L’Oqenz, the full circle moment in a friendship rooted in respect for the holy trinity of beats, rhymes, and life.
The Scientist and the Artist: Conversations with Eugenia Kumacheva and Fiona Reid
Two women at the top of their respective fields have faced surprisingly similar obstacles over the course of their seemingly different careers.
Telling the Story of the Murder Trial that Changed the Country
Fiction about a real-world tragedy risks sensationalizing the events that remain painful for a lot of people. But they also provide the opportunity to explore human behaviour, to directly address the impacts of violence and trauma.
The Case for Accepting Unsolicited Scripts
That my play was even considered by a theatre I had no prior relationship with now seems like a tremendous luxury.
Matthew Jocelyn’s Mark on Canadian Stage
“We shouldn’t take ownership of something that’s publicly funded.”
Making a Feminist Show
Contemporary feminism is as complex, as diverse, as rich, and as paradoxical as are the humans who practise it.
What Are the Borders of Canadian Theatre?
Does Canadian theatre have its own style, its own multicultural flavour? Is it widening its audience appeal? Will it ever be as popular as hockey?
Creative Appropriation
Diversifying our stages is not a challenge we can address solely by commissioning lots and lots of new plays.