We wanted an opportunity for more flexible seating so you could have different configurations — we wanted technical upgrades and general upgrades also. Later we recognized the need in the community to have a dance-friendly space. So that’s a need that we’ve found and added. Like with any kind of process, I think we started with an idea and started to break that down. I think we’re still in that process.
“It’s beautiful and strange, the permanence of it,” says Cushman of Lessons in Temperament. “Every time we chose a take, we had to be, like, ‘okay, that’s the way it is forever.’ We’ve really been grappling with permanence in relation to it.”
“We need to re-establish a dialogue with our spectators. We need to establish a creative dialogue with them. The community of spectators and artists need to be together and have an exchange. It’s about bringing people outside, and making people safe, of course, but leading them to the threshold, to let go, to walk towards the unknown.”
“I mean… what does it actually look like to create work? To produce work? To move into a production? We’re constantly working with these finite resources — time, money, space — and so a lot of our internal reflection has been looking at how do we make this process of making and sharing art more human? More flexible, more adaptable to being a human?”
We sat down — over Zoom, of course — with Artistic Director Chris Abraham and Executive Director Sherrie Johnson to chat all things Crow’s: where the company’s been, where it is now, and where it’s heading as the world makes sense of yet another new normal.
Justine Abigail Yu interviews Alison Wong on the creation and artistic significance of ‘nowhen,’ part of Canadian Stage’s Dream in High Park programming.
We aren’t trying simply to shift art that is meant to be experienced live to carbon copies online. Online collaborations that produce work that is meant to be experienced online can continue along with attending concerts at the concert hall.
“The show must go on” is not true. We could have laid this one to bed. But I think it’s been a real treat for us to rally around this little project, embrace this humble medium, and make something.
Three Women of Swatow is, at its core, a deep dive into the legacy of abuse, the power of inherited trauma, and a journey across generations and oceans – all with the promise of blood, and lots of it.
Festival director and curator Tawiah M’carthy discusses the Festival of Ideas and Creation, a three-day artist festival and colloquium focused on artistic intercultural collaboration and exchange at Canadian Stage.
Spur-of-the-Moment Shakespeare Collective artistic director Victoria Urquhart discusses the company’s work, the particulars of performing in hospitals, and how the show is changing lives.
The women creators of Canadian Stage’s 2019 – 2020 discuss the new season, and what unique story each production tells in terms of Indigenous communities, the #metoo movement, and gender dynamics.
The cast and crew of HILOT MEANS HEALER discuss the show, and the creative community bonds between Filipinx and Turtle Island Indigenous communities.
Canadian filmmaker Patricia Rozema talks about adapting Mouthpiece for the screen, the challenges of theatre and film, and her career as a filmmaker.
Oliver Chris discusses his starring roles in One Man, Two Guvnors alongside James Corden and A Midsummer Night’s Dream opposite Gwendoline Christie—both screening at select Cineplex Odeon theatres.
“There is nothing more powerful than tiny little stories that infiltrate a dominant story and change it greatly.”