Invisible Diaries: Sympathetic Magic
Grades went in. No death threats. A student wrote: “I learned something, and I laughed. That’s all...
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Canada
Dramaturgy in Action: How the Stratford Festival’s Meighen Forum Challenges Audiences to Think Beyond the Production
Imagine you have just experienced one of the most extraordinary performances you have ever seen in...
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After Coronavirus: Global Youth Reveal That the Social Value of Art Has Never Mattered More
Health and government officials around the globe are slowly and ever-so-tentatively moving to...
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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...
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Coronavirus has Dimmed the Lights on Live Entertainment. What Now for Event Managers?
COVID-19’s impacts on society are unprecedented and nobody can say precisely when we will return...
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Review of Porte Parole’s “The Assembly – Montreal”
No longer is there a “safe place” on the Canadian political spectrum; to be moderate is to be a...
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undercurrents 2020: “Crippled”– A Necessary Intersect Between Grief and Hope
undercurrents Festival Director Patrick Gauthier and Associate Director Brit Johnston have...
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On Guts and Astonishing Effect: Gctc’s “Kiinalik: These Sharp Tools”
There’s a danger to hasty reaction. To act on instinct is to perhaps ignore a bigger contextual...
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“5 O’clock Bells:” The Story of Lenny Breau
5 O’clock Bells, written and performed by Pierre Brault brings the artist back to the Gladstone...
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The Neverending Story: NAC’s Production a Visual Feast Which Doesn’t Quite Gel with the Story
The Neverending Story is a testament to the importance of imagination and the power of stories....
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Cold Refreshing Identity: “Take d Milk, Nah?” A Bold and Necessary Success at the National Arts Centre
The National Arts Centre’s website calls Jivesh Parasram’s Take d Milk, Nah? a “highly-hyphenated...
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A Light in the Dark: “Unikkaaqtuat” a Joyful, Moderate Success at Ottawa’s National Arts Centre
From the pre-show announcement, we know we won’t catch all that is said onstage...
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Well-Executed “Waitress” Hampered by Poor Sound
How do you maim a perfectly good musical? Run the show through an abysmally tuned sound system in...
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“Peggy’s Song:” A Sincere Exploration of Grief which Asks Important Questions
Peggy’s Song, the final production of Theatre Kingston’s 2019-20 season, provides a light-hearted...
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Accessibility: Pushing the Boundaries of Theatre Performance
Have you ever been nervous about going to the theatre? Maybe you’re unfamiliar with theatre...
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A Space Divided: GCTC’s “Cottagers and Indians” an Evocative Disavowal of White Privilege
The split is clear upon first glance. He wears muddy jeans and rain boots, while she dons...
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Groundbreaking Festival of Indigenous Theatre at the National Arts Centre in Ottawa: Inaugural Season
Under the direction of Kevin Loring in collaboration with artistic associate Lindsay Lachance, the...
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“Casablanca:” We’ll Always Have the Radio!!!
Gone are the days when, on a cold winter night, the family gathered around a fire to listen to the...
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“Trace”: The Impact of Identity and Family Through Time.
“We are women who do what must be done” so says the cigarette-puffing, mahjong-addicted...
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“Almighty Voice and His Wife:” Love, Settler Colonialism, and Looking Back at the Audience
Almighty Voice and his Wife, a play written by Daniel David Moses in 1991, was recently staged in...
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