Features
iPhoto caption: (L to R) Ron Pederson (Nils) and Alexandra Lainfiesta (Nora) in 'A Doll's House.' Photo by HarderLee.
Anita Rochon, director of A Doll’s House at Theatre Calgary, knows a good play has your back
“[I know] the rhythms and aspects of humanity that she’s interested in exploring,” Rochon said. “I’m always attracted to the complex, troubled, imperfect human. Ibsen and Herzog invite in complexity.”
iPhoto caption: Damien Atkins as Oscar Wilde and Colton Curtis as Bosie in 'De Profundis.' Photo by Dahlia Katz.
Next season, Soulpepper Theatre wants to prove it’s ‘more than just a place that plays happen’
“The lobby is maybe even a more important meeting place than the seats in the audience, because that’s actually where the connection happens,” says artistic director Paolo Santalucia of Soulpepper’s 2026-27 season, which will feature a suite of public programming as well as 12 productions.
iPhoto caption: Headshots of Signy Lynch, Martin Julien, Anita Majumdar, Donna-Michelle St. Bernard, and Derrick Chua.
Five theatre professionals champion Canadian plays that deserve more life
Across the country, second productions are rare, especially for shows that premiered pre-pandemic. With this in mind, I spoke to five theatre folks about the Canadian play that each of them thinks deserves another live production.
iPhoto caption: Michaela Washburn, Teneil Whiskeyjack, Jesse Fervais, Tracey Nepinak, and Valerie Planche in 'Strife.' Photo by Jae Yang.
Q&A: Matthew MacKenzie on Strife and Indigenous sovereignty in storytelling
In plays including Bears, After the Fire, and The First Métis Man of Odesa, Cree-Métis playwright Matthew MacKenzie has centred Indigenous perspectives while examining how identity and power operate within both personal and political spheres.