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.
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.
“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.”
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.
Two women at the top of their respective fields have faced surprisingly similar obstacles over the course of their seemingly different careers.
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.
That my play was even considered by a theatre I had no prior relationship with now seems like a tremendous luxury.
“We shouldn’t take ownership of something that’s publicly funded.”
Contemporary feminism is as complex, as diverse, as rich, and as paradoxical as are the humans who practise it.
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?
Diversifying our stages is not a challenge we can address solely by commissioning lots and lots of new plays.
The pamphlet showed a young contemporary James Dean–style figure, leaning on a wall in a cool, loitering pose next to an electric guitar. It read: “Christ Embassy Church: God believes in YOU!”
Every working actor on Broadway nods conspiratorially when you say you’re “covering” for another actor.
(the City, not the Musical)
“Hey Toronto friend! Wanna come see my show in Hamilton?”
“I mean, maybe, I dunno.”
How do actors cope when it feels like the world is ending?
Have you ever asked an artist for archival footage of their show? They usually say, “No, it’s terrible. Nothing like being there.”