“We could’ve just said we’re not doing a Fringe, that we’re just going to take this moment and not do anything. And we all thought, well, this is the mandate of Fringe, to support the artist, to be a platform for the artist. And this is an opportunity.”
Alan Dilworth is on a journey. An educator who became an actor who became a writer who became a director who became an artistic director, he articulates his relationship to theatre as one of continual discovery.
Institutions want to make us feel like they are doing us a favour by inviting us into their space… But I think that we have way more power to challenge these systems and institutions.
It’s just interesting that the size of the theatre and the size of the budget is a deciding factor. Stratford has yet to have a woman lead the theatre in a solo fashion. And that day will come, I have no doubt.
“What I see in her writing is a tremendous amount of character detail and an ability to create characters that contain contradictions, who are very much sitting inside the oppositions that exist within them. That to me is a real sign of a great writer, like a Chekhov.”
Martha never thought she would be a director. As far as experience had taught her, directors were men. There were a few female directors that she was aware of, but it wasn’t the norm […] Directing jobs at The Grand and Tarragon followed, and Martha felt she always had to get over the initial hurdle of colleagues accustomed to only working with a male director. Technicians made fun of her if she asked what they felt was a stupid question, or ignored her if the question was smart
What is feminist theatre? Who is it for? Is it for everybody? And what does feminist theatre look like today, in Canada? I needed to wrap my head around all of these questions. To do so, I decided to go straight to the source and sit down with some female theatre artists.
Though feminism had of course been around for years, it had become a pressing topic for their generation at that time. And as women working in the theatre. “We were trying to establish ourselves as people in an industry that usually looked upon us as less than,” says Martha, “and as adjuncts, and as supporters, and subordinates.”
Co-directors of Every Day She Rose, Sedina Fiati and Andrea Donaldson talk intersectionality, Pride, and making space in friendships.
TO Live President Clyde Wagner discusses their upcoming Dance Collection with Canadian Stage, featuring acclaimed local and international artists.
Pass Over puts audiences in an uncomfortable position, and I think that’s necessary. Sometimes the people who have been comfortable the longest need to be uncomfortable for a change.
Matthew MacKenzie and Alida Kendell of Punctuate! Theatre talk dance, theatre, and bringing them together anew in The Particulars.
For Gillis, the invitation that occurs between the show and the audience exists in the music.
Had things gone differently with Soulpepper’s programming, another production entirely might have been in its place this season. And, had things gone differently in Jani’s early years as an artist, she might not have grown into the fierce matriarch of Indigenous theatre that she is.
“There is a deep history between Nelson Mandela and Toronto. It was so important for this exhibit to come to Toronto and for the people here to have a chance to see it, interact with it, and really remember Mandela and what he stood for in terms of equity, equality, and diversity.”
For the cast of The Flick, past jobs have more often been sites of suffering than sources of inspiration.