James Reaney’s The Donnelly Trilogy and the Making of the Canadian Nation
The Theatre Times » Canada
by Barbara Gabriel
10M ago
When you head out of London on Highway 4 North, it is almost a straight line through to  Lucan, and easy to imagine the relative ease of the journey by stagecoach in the years before, first, the railway and then the automobile. The land is mostly flat, with farmland stretching for miles on each side of the road. In winter, there is always the risk of a snow squall, but in summer, the blue sky and the variegated green corn fields almost meet, with only the thinnest painterly line to divide them.   The half-hour drive to the Roman Line takes you to St. Patrick’s church and the ce ..read more
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A Reflection On Nuit, A Dance Performance Genuinely Talking The Truth Of Humanity
The Theatre Times » Canada
by Azadeh Kangarani
1y ago
Night, a faint and obscure shroud, creeps over and overtakes space. Sounds of footsteps clattering steadily, becoming closer,  drawing attention and commanding focus. The arrival of four women and four men, each wearing dark clothing, represents humans bearing the weight of injustice, pain, and love. For the first time, Canadian choreographer Jean-Pierre Perreault created the dance performance Nuit, meaning night, in 1986. Nearly two decades after its debut, Nuit continues to captivate audiences, especially after being remounted by Toronto’s Compagnie de la Citadelle. This latest iterati ..read more
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The Theatre We Want In 2040? We Used “Strategic Foresight” To Plan On The Prairies
The Theatre Times » Canada
by Christine Brubaker, Taiwo Afolabi, Yvette Nolan, Jessica Thornton, and Heather Russek
1y ago
Does it seem far-fetched to imagine a future where the government subsidizes theatres and theatre artists at a living wage, and land-based art hubs rely heavily on new technologies while nurturing partnerships to grow and tend gardens? Theatre as an art form asks audiences to “suspend their disbelief” and activate their imaginations. But challenge a number of theatre practitioners to imagine what the future of theatre might look like in 2040, and this is quite a different prospect. This is what we undertook as Prairie-based artists and researchers with the Future Prairie Theatre research ..read more
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Toronto’s Next Gen Theatre Makers are Looking for Answers to Big Questions
The Theatre Times » Canada
by Katherine Cappellacci
1y ago
When I thought about why I wanted to write this article, a simple, almost childlike thought came to mind: because I’m downright giddy that Toronto theatres have reopened. And what’s most exciting is that my fellow “emerging” artists are starting to…well, merge. To put it plainly, the vibe has been electric. Theatres across the country produced full or almost full seasons, arts workers booked gigs, and one could sit in the theatre with a newfound appreciation for the magic of live performance. Yes! For international readers, Toronto’s COVID-19 restrictions were gradually lifted after the Omicr ..read more
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“The Drawer Boy” and Another Way of Telling History
The Theatre Times » Canada
by Barbara Gabriel
1y ago
The opening play of the  Blyth Theatre Season, Michael Healey’s Canadian classic, The Drawer Boy, has once more come home. Set in a farming community in Huron County, its starting point is the legendary The Farm Show directed by Paul Thompson, the most celebrated of a number of collectively created documentary plays in Canada in the 1970’s, which echoed decentralizing and regional impulses in theatre internationally. Yet, this pioneering work took place in Canada under particularly urgent national conditions, where most of the major theatres (and their enviable subsidies) were still ..read more
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Haunted History in Cottage Country: “Cottagers and Indians”
The Theatre Times » Canada
by Barbara Gabriel
1y ago
Cottagers and Indians by Drew Hayden Taylor A lazy afternoon on a cedar deck that could be anywhere in Ontario cottage country. A casually dressed, mature woman from Toronto (her relaxed cotton shirt and pants might have been purchased from the Eaton’s catalogue in bygone days) reaches for her glass of Chardonnay and settles in. She surveys the lake beyond and with it the promise of decades of family tradition, stretching far into the future. No matter what happens, they will always have this place of refuge, with its titled ownership, the deed safely tucked away in a drawer. Her (imagin ..read more
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Learning From Scratch: Istanbul Theatre Through a Canadian-Armenian Lens. Interview with Art Babayants.
The Theatre Times » Canada
by Eylem Ejder
1y ago
Dr. Art Babayants is a multilingual artist-scholar who lives and works in what is now called Canada. His training combines the Stanislavsky school of acting, Meyerhold’s Biomechanics and Indian kalaripaiattu. Art’s directing credits include musicals Share and Share Alike (2007), Seussical (2009), Gypsy (2011), Godspell  (2014, 2021), Spring Awakening (2019), contemporary Canadian drama Couldn’t We Be (2008), The…Musician: An Etude (2012 and 2014), Wine&Halva (2020) and multilingual performance In Sundry Languages (2015-2019), collectively devised by Toronto Laboratory Theatre (publis ..read more
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Teaching Music Online in the Pandemic Has Yielded Creative Surprises, Like Mixing “Blob Opera” and Beatboxing
The Theatre Times » Canada
by Robbie MacKay
1y ago
Learning to make music is a full mind-and-body activity. Whether teaching how to play a musical instrument, or how to sing, teachers rely on learners’ physical cues to help them progress — cues that are often obscured either by watching someone on a screen or listening through a microphone. As a music educator, I’d hazard that few school music teachers would opt to teach their students remotely. However, as many teachers and students have discovered in the last two years of on-and-off virtual school, music lessons during the pandemic have unearthed some pleasant surprises. Going online has fo ..read more
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