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Kaitlyn Riordan
Kaitlyn is a four-time Dora nominated actor and a playwright of Irish and French descent. She lives in Tkaronto, but originally hails from Tiohtià:ke. She was part of the leadership team at Shakespeare in the Ruff from 2012-2021. Acting credits include: Orphan Song (Tarragon), After the Fire (Punctuate!), Noises Off! (Segal Centre), Maggie & Pierre (Thousand Islands Playhouse, Timeshare, The Grand), The Merchant of Venice & Blythe Spirit (Stratford Festival), The Winter’s Tale, Romeo & Juliet, Macbeth, Cymbeline, and Two Gents (Shakespeare in the Ruff). Playwriting credits include: Portia’s Julius Caesar (Shakespeare in the Ruff, Hart House, U of Waterloo, Little Lion Theatre - UK) and 1939 (Stratford Festival, Sudbury Theatre Centre). Plays in development include Gertrude's Hamlet, I Sit Content – a story of Emily Carr, and The Nude Nun.
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iPhoto caption: Photo by Dahlia Katz.
REVIEW: Psychology and ideology collide in Necessary Angel’s austere Winter Solstice
Winter Solstice left me in a state of tension — pondering whether, in a similar situation, I’d be more likely to flirt with or kill a potentially evil man.
Armchairs, tattoos, and an online theatre magazine
When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.
iPhoto caption: Headshot courtesy of Marcia Johnson.
Speaking in Draft: Marcia Johnson
"The whole reason I started writing was to give myself work, because I just wasn't getting lead roles, I wasn't getting interesting roles, and I knew that I could carry them off," says Johnson. "My goal when I wrote You Look Great Too was for people to say, ‘Oh my gosh, yes, she can play a lead’ — and then I would never have to write again. Then it turned out that writers were more in demand. I thought ‘OK, maybe I’ll write a few more plays.’"
iPhoto caption: Photo by Ann Baggley.
REVIEW: Here For Now’s Dinner with the Duchess is an aching étude on the cost of creative passion
Dinner with the Duchess is a tallying of an artistic life’s costs that builds a symphony out of simple presentation, resounding long past the final note.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Wights sizzles with ambition at Crow’s Theatre
While the play’s genre-straddling form feels slightly too ambitious for its concept, this sheer ambition is exciting, challenging audiences to think, while warning us that we can only go so far with words.
Announcing the winners of the 2024 Nathan Cohen Awards
The Canadian Theatre Critics Association has announced the winners of the 2024 Nathan Cohen Awards for Excellence in Critical Writing, including two writers from Intermission.
iPhoto caption: The Balancing Act team. Photo by Zeeshan Safdar.
Balancing Act creates options for caregivers in Canadian theatre
“The policies that we're creating, while they're centring mothers, parents, artists who are caregivers, they actually help everyone in the industry,” says founder and executive director Lisa Marie DiLberto. “You don't know when you're going to need these kinds of supports, because everyone's going to be a caregiver or need care at some point.”
REVIEW: Inside the babes-in-arms performance of the audacious Universal Child Care
As a new parent, I was thrilled at the prospect of returning to the theatre and introducing my baby to what, at one time, used to take up two or three nights a week of my life.
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