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Zoe Marin
Zoe Marin (she/her) is an Argentine-American theatre artist (director, writer, performer) and comedian (sketch, stand-up, musical comedy). She holds a BFA in Theatre from York University, and recently participated in the Toronto Fringe New Young Reviewers Program. Zoe loves: horror, comedy, music, politics, and pop culture, and hopes you see that in her work.
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iPhoto caption: Photos courtesy of Lighthouse Festival.
Lighthouse Festival shines a light on Canadian comedies this summer
“When you laugh with a character, you connect with their story,” says artistic director Jane Spence. “You have more empathy and compassion for whatever their journey is. I believe that humour opens us up to each other’s life experiences. It’s what connects us.”
iPhoto caption: Pictured (L to R): Jake Epstein as Frank, Isabella Esler as Alice. Photo by Michael Cooper.
REVIEW: Britta Johnson’s Life After shimmers in large-scale Mirvish transfer
The show’s tender excavation of grief’s ambiguities hasn’t lost any power in its journey to a bigger house; in fact, it’s clearer than ever.
iPhoto caption: Kamyar Pazandeh and Julia McLellan in 'Waitress.' Photo by Dahlia Katz.
Ahead of the musical’s upcoming run at Hamilton’s Theatre Aquarius, I spoke with the production’s props and scenic design department to find out how they’re making the pie magic happen.
iPhoto caption: Photo by Jae Yang.
REVIEW: Tarragon’s wonderful Benevolence reflects on diaspora, community, and place
Playwright-performer Kevin Matthew Wong’s script is heartfelt, conversational, and at times poetic, moving effortlessly between heavier moments of grief and lighter moments of joy and humour.
iPhoto caption: Photo courtesy of York University.
“I think the fundamental issue is that the foundation of inequity is still intact,” says co-curator Mariló Nuñez. “If you think about when Canadian theatre was first established, the theatre we were watching and learning about was Eurocentric, Western theatre… We place everything against that [perceived] ideal. Until that changes, I don’t think we can really make a change.”
iPhoto caption: Photo by Blaire Russell.
The 40-year career of Alanis King began much the same way that so many careers in theatre do: in front of very small audiences. “The show must go on if you have the same amount of audience members as in the cast,” was King’s motto in the early days. But today, the multihyphenate Odawa artist has no difficulty finding people interested in her work.
iPhoto caption: Photo by Jeremy Mimnagh.
REVIEW: On the Other Side of the Sea toys with human desires and fears
The absurdist, magical play follows the unexpected relationship between an idealistic fisherman and a stubborn businesswoman.
iPhoto caption: Guildwood photo by Sean Stone, Dead Parents Society photo by Dahlia Katz.
REVIEW: Guildwood and Dead Parents Society traverse time and genre to examine community
Whether of laughter, sadness, or sympathy — there will be tears. And is that not what Aristotle said theatre was for?
REVIEW: Music, Then Comedy epitomizes the best of Canadian improv
While it may not be Canada Council-approved theatre, Music, then Comedy is definitely art.
REVIEW: CANOE brings mystical, operatic flair to Canada’s dark history
Through a minimalist aesthetic and a score that blends classical music with non-conventional elements, CANOE presents a deeply personal portrayal of two sisters grappling with the past.
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