If we can understand the world in terms of intersectionality, can we not achieve great things through that lens, as opposed to thinking, we have to be inclusive – because inclusive of what and for whom?
“It’s the perfect time to try something. It’s the perfect time to take a risk.”
There is magic in the theatre–there is a unique opportunity to see great actors perform in the context of the magic of the theatre. This appeals to both cinema lovers and theatre lovers.
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.
Cineplex’s Stage Series is making it easy to see world-class theatre, like National Theatre Live and Stratford on Screen productions, across Canada.
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.
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.
How to Fail as a Popstar is partly Vivek Shraya trying to break from the role of accomplished trans artist she’s been cast in—to own the complex and contradictory nature of who she is as a person and artist.
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.
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
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.
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.”
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.