“I think travel has the potential to open up some great conversations between people with very differing life experiences,” says Alex Bulmer ahead of her new show, Perceptual Archaeology (Or How to Travel Blind).
Sergio Blanco brings reality and fiction into one with The Rage of Narcissus, combining self-reflection, queerness, and murder.
This is the heart of what (Re)Casting Shakespeare is about: examining how casting can influence the audience’s interpretation of the story.
“[Directing Maanomaa, My Brother] was about putting a magnifying glass on what the story was…like making ghee, or butter without all the solids that could go bad.”
“It’s important to move forward with love and hope because to choose any other path will just elongate how long you are uncomfortable.”
“I look to the theatre [as] something that actually takes me away from the moment, for a moment. Not escapism — perspective.”
For its thirteenth season, this beloved Ottawa festival is just getting sweeter: undercurrents has gone bilingual.
“There is a gap between the pre-AIDs semi-closeted gay culture, the post-AIDs LGBQT+ culture, and the rise of identity politics. I thought, I have something to say about this!”
There are children who are going to leave this show and realize that all you need to shrink or grow are a couple of chairs.
“A character in the play says, ‘We want theatre to reflect our people’. Well, I’m a Torontonian. I was born and raised here. Why am I not seeing myself on stage?”
YPT has crossed the theatre/comedy barrier for an imaginative retelling of Snow White with an all-star double cast spanning both genres.
“If I was trying to change the world, Canadian theatre spaces are probably not the most efficient way to do that..but the liveness of theatre and the beautiful communal experience just cannot be replicated anywhere else.”
“Relaxed performance kind of calls that into question and throws it on its head and says, ‘well, says who? Says who that’s what it means to be a good audience member?’”
“It took many occasions of being in micro-aggressive, racist, sexist, unsafe situations that led me to realize that this was not the kind of industry I wanted to be in.”
“We need to demand different structures, dream different structures, build structures. And that desire is expressed, I hope, in the shows we’ll see onstage this season,” says Kitz.
“I thought, if I’m going to take up space in this experience, then I have a responsibility to tell this story.”
