Trey Anthony, the acclaimed playwright of the smash hit Da Kink In My Hair, brings her newest work to the Great Canadian Theatre Company with How Black Mothers Say I Love You. With a powerful nod to the Caribbean community, Anthony weaves a complex and heartwarming story of immigration, family, and sacrifice. Making her directing debut in Ottawa, Kimberley Rampersad helms a cast of newcomers to the GCTC stage: Bénédicte Bélizaire, Lucinda David, Malube, and Samantha Walkes. How Black Mother Say I Love You runs on the GCTC stage from March 6 – March 25.
“Anthony has delivered another important play about the experiences of black women.”—The Star
How Black Mothers Say I Love You is the tale of a mother, three daughters, and their attempts to love each other in less than ideal circumstances. Daphne is a Caribbean mother who leaves her two daughters behind in Jamaica for six years to start a better life in Canada. This separation has devastating consequences for each family member, all of whom are searching for love, reconciliation, and forgiveness. How Black Mothers Say I Love You explores our own desire and urgent need for truth and how we respond to what has been left unsaid.
“Trey Anthony is an unstoppable force who is leading the charge of African Canadian theatre in this country. I am thrilled that GCTC is home to her latest play” says GCTC’s Artistic Director Eric Coates.
Bénédicte Bélizaire: Cloe
Lucinda Davis: Daphne
Samantha Walkes: Valerie
AL Connors: Sound Designer
Chantal Hayman: Stage Manager
Jess Preece: Assistant Stage Manager
Helen Rainbird: Costume Designer
Kimberley Rampersad: Director
Roger Schultz: Set, Props, and Lighting Designer
OPENING NIGHT FOR REVIEWERS
Thursday, March 8, 2018. Curtain is at 8:00 p.m.
Performances begin at 8:00 p.m. Tuesday–Friday. Saturday performances begin at 4:00 p.m. & 8:30 p.m. There is no performance on Saturday, March 24 at 8:30pm. Sunday matinee performances begin at 2:00 p.m. Pay-what-you-decide performance on Sunday, March 11 at 2:00 p.m. and a post-performance talkback will take place on the main stage on Thursday, March 15.
The Prologue Series continues to bring exciting discussions and unique experiences to GCTC that take us into the creative process of the plays on our stage.
The series is free to the public and will start at 7:00 pm in the GCTC lobby. The next event takes place on March 7 and will be hosted by CTV personality Stefan Keyes, featuring a discussion with guests:
- Kimberley Rampersad (Director)
- Roger Schultz (Set, Props, and Lighting Designer)
CHEFS & SHOWS
On Tuesday, March 13 Chef Michael Blackie of west end hotspot NeXT will be lending his world-renowned talents to create a menu inspired by How Black Mothers Say I Love You. Tickets for this event sold out well in advance.
Chefs & Shows is curated by Michael Moffat and Sheila Whyte.
Tickets are on sale now at GCTC’s Box Office at 1233 Wellington West at Holland, 613-236-5196 or GCTC.ca.
Regular ticket price range: $42 to $58.
Rush Tickets $15 for students*; $33 for adults. (*Valid student ID required for Student Rush.)
Tickets can be purchased in person from the GCTC Box Office afternoon on the day of the performance.
THE FRITZI GALLERY
From March 6 to April 22, the Great Canadian Theatre Company (GCTC) and The Ottawa School of Art (OSA) will present V For Veteran, a solo exhibit featuring the works of diploma student Robert R.A. Bradley at the Lorraine “Fritzi” Yale Gallery. A vernissage, with an opportunity to meet the artists, will take place Tuesday, March 6th from 6:00 p.m. to 8:00 p.m. GCTC’s partnership with the Ottawa School of Art is supported by Cube Gallery.
GCTC is celebrating its 43nd season in 2017–18. We continue to foster, produce and promote excellent theatre that provokes an examination of Canadian life and our place in the world. Now in the middle of a 3-year strategic plan, GCTC aims to increase the diversity on its stages, diversify its audiences, and deepen their experience. GCTC also continues to embrace artistic risk and to ensure a wide range of theatrical experiences.
This article originally appeared in Capital Critics’ Circle on February 23, 2018, and has been reposted with permission.
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