In Conversation
iPhoto caption: Members of the company of 'Theatre of Dreams.' Photo by Tom Visser.
It’s tough to tie Shechter’s style to any one dance lineage, but modern floorwork; commonplace gestures rendered sharp and frenzied; and loose, hip-circling movements often reserved for low-lit clubs evoke the woozy surreality of half-revealed consciousness.
iPhoto caption: Members of the company of 'Tiger Bride.' Set and costume design by Shannon Lea Doyle, lighting design by Frank Donato. Photo by Dahlia Katz.
Soulpepper’s Tiger Bride offers a ‘wildly transformative’ audience experience, says Hailey Gillis
“It starts out in a hyper-fairy-tale world, and then we slowly, by the end of it, move into a rock-n’-roll basement concert,” says creator-performer Hailey Gillis. “We're just left with guitars and sweaty bodies and loudspeakers."
iPhoto caption: The cast of 'Come From Away.' Photo by Harder Lee.
Theatre Calgary’s new staging of Come From Away aims for the heart
“It really boils down to: ‘What are the words we're saying and how are we carrying ourselves in space?’" reflected director-choreographer Jesse Robb.
iPhoto caption: Ordena Stephens-Thompson and Tony Nappo in 'The Neighbours' at Tarragon Theatre. Photo by Jae Yang.
As PlayME’s season concludes, its creators reflect on the changing world of Canadian audio drama
Chris Tolley remembers CBC's Studio 212 with a sense of awe. “It felt like you were on the Starship Enterprise holodeck,” he said. “There was this big, long table with all these different computers and servers underneath. The studio had these different staircases made out of wood and metal, and strips of concrete and wood floor, so that you could run on them and record [different sound effects].”