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.
Festival Players’ 2019 summer season features small cast ensembles, one person shows, improvisation, and traditionally scripted plays. We had the opportunity to speak with some of this season’s performers about what they were looking forward to most about working in Prince Edward County.
Daniel Brooks is a writer, an actor and a director, and in the course of a substantial career (he’s now sixty) he has often combined at least two of those roles on a single project.
“If we can laugh together, then we can cry together and maybe even fix some things.”
“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.”
“Where do you as an audience member, where do any of us place our faith?”
“I don’t want to engage artists as mouthpieces. What would it mean to embed you in the DNA of this project?”
Night is not an absence, not a time-out, but a rich, enchanting world that can offer us so much more than we know.
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.”