Features
iPhoto caption: Photo courtesy of York University.
“I think the fundamental issue is that the foundation of inequity is still intact,” says co-curator Mariló Nuñez. “If you think about when Canadian theatre was first established, the theatre we were watching and learning about was Eurocentric, Western theatre… We place everything against that [perceived] ideal. Until that changes, I don’t think we can really make a change.”
iPhoto caption: Photo by Blaire Russell.
The 40-year career of Alanis King began much the same way that so many careers in theatre do: in front of very small audiences. “The show must go on if you have the same amount of audience members as in the cast,” was King’s motto in the early days. But today, the multihyphenate Odawa artist has no difficulty finding people interested in her work.
iPhoto caption: Photo by Szymon Lazewski.
“We are all coming from somewhere, and we all have ancestors, and we all have this profound connection with not just where we come from but who we come from,” says playwright-performer Martha Knight. “That’s really connected me to the piece and connected me with everybody I’ve worked with on this show.”
iPhoto caption: Promotional still for Citizen Pochsy (2003). Photo by Gary Mulcahey.
Pochsy’s back! At VideoCabaret, a Canadian underground theatre icon returns to Toronto
“There are opposites at play at all times — in the show, in the writing, in the performance,” says playwright-performer Karen Hines. “When something gets dark, Pochsy might be super light in the delivery of it. When she’s being facetious or giggly, it might even be as she’s destroying a species."