It’s a Wonderful Life: A Live Radio Play makes theatre magic with… celery
This holiday season, Toronto’s Young People’s Theatre echoes with sounds of laughter, wonder — and celery.
This holiday season, Toronto’s Young People’s Theatre echoes with sounds of laughter, wonder — and celery.
“I don’t think there’s anything more powerful than seeing three generations of a family laugh together in a theatre,” says artistic director Derek Ritschel.
If you have strong opinions on Canadian solo performance, Daniel MacIvor may be to blame.
Morris Panych’s surreal new play promises to be anything but a walk in the park.
Told through live video, puppetry, and clown, Grumms’ semi-autobiographical solo show Something in the Water wields your typical monster transformation plot as a metaphor for coming out as transgender.
“There’s a lot of emotion in this one,” says Randoja of Cardinal’s newest work. “You have to track and direct the emotional states throughout the play, and how they rise and fall. I call it a solo show, but in my head, it’s sort of like a movie, where all the other actors are invisible.”
“There’s something for everyone,” said artistic director Weyni Mengesha. “The work on stage is irreverent, it’s uplifting, it’s hilarious, it’s quite moving — it’s going to have everything on stage, including you.”
Theatre Calgary celebrates its 56th season with a knockout production of the play that’s always running.
“The South Asian community in Calgary, and even Toronto, is a whole different story than Brampton in terms of size,” says Mir. “I’m excited to have this show come to a larger group of South Asians: most importantly, young people who maybe want to go into the arts who want to be actors.”
“There’s just a lot of really cool energy in the building right now,” says artistic director Mary Francis Moore. “Theatre Aquarius is an exciting place to be in this moment.”
“This play is really interesting, because whatever you think it is, it’s not going to be that,” says actor Maryse Fernandes.
“Nightlife trends come and go,” says witzel. “But there’s no reason a queer party space can’t be a creative site as well as a way to fund art.”
“Authenticity may include trauma or suffering, but it doesn’t have to end in sadness,” says playwright Marie Beath Badian. “It isn’t the end of the story and it isn’t the point of the story.”
“There’s a need for [Richard Three] because there’s so little work in this country that centres two disabled people at its core,” Bulmer said.
Both [Sky and Peters] want to honour the Indigenous artists who have worked with the [Stratford] festival for years, quietly carving out space for public and visual representation.
“The show is called A Midsummer Night’s Dream… which means anything’s possible. So I thought, let’s lean into that.”