Skip to main content

Space Girl marks 14th digital presentation for Prairie Theatre Exchange

iPhoto caption: Photo by Joey Senft
/By / Jan 10, 2024
SHARE

Winnipeg’s Prairie Theatre Exchange (PTE) continues its commitment to producing digital theatre with its new filmed version of Frances Koncan’s Space Girl.

Though the comedy about an influencer born on the moon had its live premiere at PTE last March, this digital iteration of the show will make it accessible to audiences outside Winnipeg. 

This is PTE’s 14th digital presentation since the COVID-19 pandemic forced it to shift operations online.

The company’s first all-digital season, 2020/2021, opened with the world premiere of Katharsis by Yvette Nolan. The commissioned film, shot on PTE’s empty mainstage, was a direct response to the pandemic’s effects on theatre artists and audiences, as well as a reflection on where those changes might lead us. 

Katharsis was followed up with two digital works produced at PTE (Post-Democracy by Hannah Moscovitch and VOICE by Ismaila Alfa), plus two presentations of already filmed works (Frequencies by Aaron Collier, produced by HEIST, and 1 Hour Photo by Tetsuro Shigematsu, produced by Vancouver Asian Canadian Theatre).

Alongside a return to live performance, 2021/2022 brought five more online presentations to PTE, with an added focus on works by Indigenous artists, including The War Being Waged by Darla Contois (recently nominated for a Governor General’s Award), and Deer Woman by Tara Beagan, produced by ARTICLE 11 in partnership with Downstage. Each digital production employed multiple cameras and filmmakers to transform the experience in its journey from stage to screen.

In a press release, the company wrote that their commitment to providing digital experiences has “allowed the company to connect with new audiences by offering the freedom to engage with a production whenever, wherever, and however it suits them best.”


Space Girl will be available for streaming through Prairie Theatre Exchange from January 17 to 28. Tickets are available here.

Liam Donovan
WRITTEN BY

Liam Donovan

Liam is Intermission’s senior editor. He lives in Toronto.

LEARN MORE

Comments

Leave a Comment

Your email address will not be published. Required fields are marked *


Mike Nadajewski in 'All the Cows Are Dead.' iPhoto caption: Mike Nadajewski in 'All the Cows Are Dead.' Photo by Dahlia Katz.

REVIEW: Two critics compare reactions to TIFT’s new musical All the Cows Are Dead

Liam wrote about observing the production's rehearsal process. Shivani viewed the musical without any insider knowledge. On the way home from seeing the show in Barrie, they discuss.

By Liam Donovan, , Shivani Nathoo
iPhoto caption: Louise Pitre in 'Kimberly Akimbo.' Photo by Emelia Hellman.

REVIEW: Mirvish’s well-cast Kimberly Akimbo never stops surprising

The simple and the unconventional meld radiantly throughout Jeanine Tesori and David Lindsay-Abaire's Tony Award-dominating 2021 musical.

By Liam Donovan
iPhoto caption: Athena So, Mike Nadajewski, Taylor Garwood, and Ben Page in rehearsal for 'All the Cows Are Dead.' Photo by Dahlia Katz.

What I discovered at rehearsals for TIFT’s world premiere musical All the Cows Are Dead

I’m sure most new musicals have interesting rehearsal processes — but it helped my excitement level that All the Cows Are Dead is a site-specific, existential two-hander from one of Ontario’s most risk-taking companies. There'll also be countless balloons.

By Liam Donovan
L to R, top to bottom: 'The 39 Steps' (photo by Raph Nogal), 'Benevolence' (photo by Jae Yang), 'The Born-Again Crow' (photo by Jeremy Mimnagh), 'Dimanche' (photo by Thomas Müller), 'Last Landscape' (photo by Fran Chudnoff), 'The Merchant of Venice' (photo by Kyle Purcell), 'Slave Play' (photo by Dahlia Katz), 'Waiting for Godot' (photo by Elana Emer), 'The Welkin' (photo by Dahlia Katz). iPhoto caption: L to R, top to bottom: 'The 39 Steps' (photo by Raph Nogal), 'Benevolence' (photo by Jae Yang), 'The Born-Again Crow' (photo by Jeremy Mimnagh), 'Dimanche' (photo by Thomas Müller), 'Last Landscape' (photo by Fran Chudnoff), 'The Merchant of Venice' (photo by Kyle Purcell), 'Slave Play' (photo by Dahlia Katz), 'Waiting for Godot' (photo by Elana Emer), 'The Welkin' (photo by Dahlia Katz).

Twelve indelible moments of performance from 2025

With the lights fading on another year of fleeting thrills in dark rooms, we asked 12 Ontario performing arts writers to reflect on a moment that stayed with them. The results mainly stem from Toronto theatre productions, but there are a few surprises weaved in.

Connor Mitton and members of the company of 'Sex Dalmatian’s Hot Holiday Spectacular.' Photo by Jeremy Mimnagh. iPhoto caption: Connor Mitton and members of the company of 'Sex Dalmatian’s Hot Holiday Spectacular.' Photo by Jeremy Mimnagh.

REVIEW: Sex Dalmatian’s Hot Holiday Spectacular is a peppermint-coated acid trip

Rock Bottom Movement’s surrealist mandate is on full display in this 15-dancer fantasia, which begins with an invitation to let go: “The only thing you need to know is not to know anything at all,” pronounces the Mayor of Sex Dalmatian, the evening’s narrator and the mayor of the titular canine’s mind.

By Liam Donovan
Tom Rooney in 'Rogers v. Rogers' at Crow's Theatre. iPhoto caption: Tom Rooney in 'Rogers v. Rogers' at Crow's Theatre. Photo by Dahlia Katz.

REVIEW: Tom Rooney dazzles in world premiere of Michael Healey’s Rogers v. Rogers

Rooney and Healey skewer the Rogers family with a disarmingly relaxed virtuosity that the surrounding Crow's Theatre production sometimes supports, and sometimes lets down.

By Liam Donovan