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Anjali Pandit
Anjali Pandit is a theatre artist and arts writer living and working from her childhood home of Mystic, Connecticut (land historically stewarded by the Mashantucket Pequot Nation). During the non-summer months, she can be found in Tiohtiàke, also known as Montréal, where she studies Performance Creation at Concordia University. Of both Indian and European descent, they are largely inspired by stories of cultural connection and disconnection, diaspora and migration, and our ever changing definitions of “home.” She is thankful and excited to be involved in Soulpepper’s Taking on the World project this year; hopefully the works produced can take us all on the trips we’ve been sorely missing.
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iPhoto caption: Photo by Kendra Epik.
REVIEW: House + Body’s Measure for Measure weds the beautiful with the troubling
House + Body provides few answers about how to resist (or further, dismantle) a corrupt government. But layered portrayals of the play’s central characters convey the emotional stakes of a system that allows for egregious abuses of power.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Red Snow Collective’s Carried by the River is still finding its flow
Playing in the Tarragon Theatre Extraspace, Carried by the River delivers visually striking images and impressive choreography but struggles to find emotional depth and cohesion.
iPhoto caption: Photo courtesy of the CBC.
As the trade war rages on, CBC’s PlayME stays true to its mandate of platforming Canadian writers
“I think all five of these shows really help us plant a stake in saying who we are as Canadians,” says PlayME co-creator Chris Tolley.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Outside the March’s Performance Review is claustrophobic for all the right reasons
It’s up close and personal, with lots of eye contact and sometimes only inches of distance between playwright-performer Rosamund Small and the audience.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Against a bloody backdrop, Trident Moon pays homage to the power of resilience
Playing at Crow’s Theatre and set during the 1947 partition of India, the intense fictionalized drama offers a graceful depiction of several women’s high-stakes struggle to resist.
iPhoto caption: Photo by Olya Glotka.
REVIEW: At Factory Theatre, Kelly Clipperton’s new solo show transforms memory lane into a catwalk
Supported by Naomi Campbell’s glamorously grounded direction, which glides over the keys of sharply contrasting emotional scales, Clipperton paints a quippy, unapologetic, nostalgically referential portrait.
The Third Place: Where We’re Really From
We must pay attention to how western trends of showcasing “diverse” content can inadvertently generalize cultural experiences.
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