Katherine Cappellacci

regional managing editor

k.cappellacci@thetheatretimes.com

Katherine Cappellacci is an actor, singer, and writer based in Toronto, Canada. She's been acting professionally since she was a teenager, and acquired her Bachelor of Fine Arts in Acting from Ryerson University. Since graduation, Katherine has been working in theatres across Ontario. She is an aspiring playwright and loves to play guitar. Aside from theatre, Katherine is extremely passionate about outdoor adventure and traveling. She hopes to bring attention to Toronto's vibrant theatre scene.

Toronto’s Next Gen Theatre Makers are Looking for Answers to Big Questions

Posted by Katherine Cappellacci | 19th Jan 2023 | Canada, Covid-19, Directing, Interview, Producing

When I thought about why I wanted to write this article, a simple, almost childlike thought came...

Read More

Online Acting Classes? Here Are the Pros and Cons

Posted by Katherine Cappellacci | 22nd May 2021 | Acting, Canada, Covid-19, News

If you’re an out-of-work actor stuck at home in a lockdown, you’ve probably asked yourself this...

Read More

Don’t Worry, Guy: Toronto’s Indie Theatre Community Stays Resilient

Posted by Katherine Cappellacci | 19th Feb 2021 | Canada, Covid-19, Festivals, News

On February 20th at 7pm, Sebastian Biasucci’s family will be in their kitchen eating dinner. One...

Read More

Like Us On Facebook

Facebook Pagelike Widget

Advertisement

Most Popular Posts

Re-imagining the City through Performance:… by David O'Donnell 21st March 2024
“Habitat” by Doris Uhlich: Performing a… by Marilena Borriello 6th August 2023
“I Killed My Mother/It Wasn’t My Fault.”… by Teodora Medeleanu 25th March 2024
Towards New Theatre in Europe: What Roles Can… by Kasia Lech 8th April 2024
Drag Queens in Musical Theatre by Lisa Monde 8th May 2023
Musical “Evita”: 45 Years Later by Lisa Monde 22nd February 2024
The Silent Service of Women: Cayenne… by Rhiannon Ling 2nd April 2024
“That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin by David O'Donnell 19th April 2024
Wicked the Musical Celebrates Its 20th Anniversary… by Lisa Monde 9th November 2023
Design Writing: Five Views of Sarah Ruhl’s… by Michael Schweikardt, Connor Diaz, Tristan Fabiunke, Jessa Laboissonniere, Bre Lawscha, Benjamin Zingos 24th January 2024

Recent Posts

“Without a State:” a Collision Between Migration and the Perpetual Pursuit of Identity and Belonging 23rd April 2024
“That Perfect Dark”: Samuel Beckett’s “Company” in Dunedin 19th April 2024
Anything Can Be Bought If The Price Is Right: Juan Mayorga’s “La Colección” (The Collection) 12th April 2024
Staging Justice: Miguel del Arco revisits Jordi Casanovas’ “Jauría” and the case of “la manada” (the wolfpack) 9th April 2024
Towards New Theatre in Europe: What Roles Can Multilingual Dramaturgies Play in Europe’s Future(s)? 8th April 2024
Milan’s FOG Festival 7th April 2024
Between The REMBELIO OF POPOLARI (“Omilies”, Carnevals, Anonymous Poets) And No Stable Funding 4th April 2024
The Silent Service of Women: Cayenne Douglass’s “Maiden Voyage” at The Flea 2nd April 2024
“Teeth” Bites Back Against Purity Culture: On Michael R. Jackson and Anna K. Jacob’s Musical 31st March 2024
“I Killed My Mother/It Wasn’t My Fault.” Which Way Does One Get to Come-of-Age? 25th March 2024

SEARCH OUR ARCHIVES

Pin It on Pinterest