A Mid-Pandemic Letter To The City Of Ottawa From A Young Theatre Critic (CC: GCTC’s Daisy)
It’s been a strange few weeks. Despite the unprecedented scope of this cultural wound, I write to...
Read MoreOriginally from the United States, Aisling Murphy is an Ottawa-based critic, playwright, and dramaturge, currently studying theatre at the University of Ottawa. Aisling’s academic interests include those of contemporary theatre criticism, new play development, multilingual theatre, and postdramatic theatre, to name a few. As a research assistant at the University of Ottawa, Aisling has been involved in the production of several academic texts, including Dramaturgy of Migration (eds. Meerzon & Pewny) (Routledge), Performance, Subjectivity, Cosmopolitanism (Meerzon) (Palgrave Macmillan), and Migration and Stereotypes in Performance and Culture (eds. Meerzon, Dean, and McNeil) (Palgrave). Aisling is a member of the 2020 Young Playwrights Unit at Tarragon Theatre in Toronto, where she is currently developing her verbatim play, Feast, which looks to explore the life and critical legacy of British playwright Sarah Kane.
Posted by Aisling Murphy | 14th Apr 2020 | Canada, Essay, Theatre and Science
It’s been a strange few weeks. Despite the unprecedented scope of this cultural wound, I write to...
Read MorePosted by Aisling Murphy | 30th Mar 2020 | Canada, Review, Theatre and Politics
No longer is there a “safe place” on the Canadian political spectrum; to be moderate is to be a...
Read MorePosted by Aisling Murphy | 24th Mar 2020 | Canada, Festivals, Review
undercurrents Festival Director Patrick Gauthier and Associate Director Brit Johnston have...
Read MorePosted by Aisling Murphy | 25th Feb 2020 | Canada, Participatory Theatre, Review
There’s a danger to hasty reaction. To act on instinct is to perhaps ignore a bigger contextual...
Read MorePosted by Aisling Murphy | 5th Feb 2020 | Canada, Collaborating Across Cultures, India
The National Arts Centre’s website calls Jivesh Parasram’s Take d Milk, Nah? a “highly-hyphenated...
Read MorePosted by Aisling Murphy | 4th Feb 2020 | Canada, Review, Theatre and Dance
From the pre-show announcement, we know we won’t catch all that is said onstage...
Read MorePosted by Aisling Murphy | 27th Jan 2020 | Musical Theatre, New York, Review, United States of America
To escape the mundanity of our own everyday. To revel in the ephemerality of storytelling. To...
Read MorePosted by Aisling Murphy | 14th Jan 2020 | Canada, Design, Review
The split is clear upon first glance. He wears muddy jeans and rain boots, while she dons...
Read MorePosted by Aisling Murphy | 6th Nov 2019 | Canada, Review, Theatre and Politics
Canada is built upon a core tenet of otherness; its populace is built largely upon the mosaicked...
Read MorePosted by Aisling Murphy | 6th Nov 2019 | Review, Romania, Theatre and Politics
That the hallway beside the theatre is filled to its breaking point is a good sign: artists,...
Read MorePosted by Aisling Murphy | 28th Oct 2019 | Festivals, Review, Romania, Theatre for Young Audiences
The exposed nerve of a reignited public tragedy hangs in the ether of Teatrul Luceafărul Iaşi. We...
Read MorePosted by Aisling Murphy | 20th Oct 2019 | Austria, Review, Theatre and Art
Mental Eclipse Theater’s production of Sarah Kane’s Blasted is, admittedly, a mixed experience,...
Read MorePosted by Aisling Murphy | 10th Jul 2019 | Canada, Festivals, Ottawa Fringe 2019, Puppetry, Review
Night Feed, presented by Canvas Sky Theatre, is a puppet play with a golden emotional core. Armed...
Read MorePosted by Aisling Murphy | 3rd Jul 2019 | Canada, Festivals, Ottawa Fringe 2019, Review
Carlyn Rhamey is a force of nature. Her facial expressions are anything but small, her voice is...
Read MorePosted by Aisling Murphy | 13th Jun 2019 | Canada, Ottawa Fringe 2019, Review
GoFundYourself, presented by Ottawa’s own Black Box Comedy, is a raucous, audience-driven look...
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