Born and brought up in New York, John Patrick Shanley , author of the screenplay for Moonstruck, directed by Norman Jewison , captured a modern Italian American love story that was told in the style of a Puccini opera. Now he has written a play about Irish families deeply rooted in their ancestral land,This one too has great operatic undertones ! Structured as a series of solos, duos, trios and quartets, the characters have to maintain the music of the accents from Dublin to Mullingar in the northern most areas of the Republic , which is what the cast of Dave Dawson’s production at the Gladstone did very well. We were immediately immersed in a swelling of romantic authenticity and thoughtful intensity that keeps us captivated for the whole evening. (Continue reading » )
By Agatha Christie and Gerald Verner
Ottawa Little Theatre
Directed by Sarah Hearn
You know the drill of a classic whodunit: A small group of people, most of them with a grudge or a secret, gathers in an elegant country or seaside house, probably on a dark and stormy night. At least one among them is murdered (usually off stage) and it seems that the killer is an insider. (Continue reading » )
By John Patrick Shanley
Black Sheep Theatre Company
Directed by Dave Dawson
It is no surprise that a romantic comedy set in Ireland should focus on a land dispute between neighbours and begin on a rainy night in the aftermath of a funeral. Neither is it unusual for the talk to center on death: Tony, the professional curmudgeon on one side of the fence, predicts that Aoife, the widow next door, will die within the year and adds that he does not expect to live more than two more months.
Both predictions are correct (yes, this is a comedy — Irish style). Before the two months are up, Tony delivers his zinger: he does not intend to leave the family farm to his only son, Anthony, because he fears that the young man will never marry. (Continue reading » )
It’s more than 40 years since a young, award-winning Canadian playwright named David Freeman told an interviewer that what he yearned for most in life was a meaningful physical relationship with another human being.
It was a poignant admission, because Freeman had been born with cerebral palsy. And throughout his life he resisted marginalization by a culture unable to get a handle on the notion that his kind were as capable as anyone else of an entire range of human emotions, including sexual need and desire.
These emotions were given caustic, funny utterance in Creeps, his 1971 stage triumph about the plight of disabled youth trapped in the coils of an unfeeling rehab centre. Its premiere at Toronto’s Tarragon Theatre was a groundbreaking event — not simply because it broke taboos by bringing subject matter like this to the stage, but because of its importance in legitimatizing Canadian drama at a time when playbills across the country were crammed with imported material from Broadway and London’s West End. (Continue reading » )
By Brad Fraser, A Royal Manitoba Theatre Centre (Winnipeg) Production coproduced with the NAC English Theatre.
Disability comes in many guises. And each of the character’s in playwright Brad Fraser’s latest play, Kill Me Now, is disabled to a greater of lesser degree, whether through physical or mental challenges or emotional and relationship issues.
But, says Fraser in the program notes, “this is not a play about disability. It is a play about courage and love.”
So it is. At the centre is the love between father and son. In the next circle of love is that of a sister for the older brother who raised her and an aunt’s caring for her nephew. Then the love ripples out to include friends and lovers. (Continue reading » )
In his own incomparable style, Brault crafts myriad characters, from Orson Welles and Zsa Zsa Gabor to de Hory himself and the artists whose work he forged, to tell a fascinating story that explores the very nature of art and identity.
After a three year lapse, the innovative company Lucidity Suitcase Intercontinental has returned to ArtsEmerson in Boston, this time with 17 Border Crossings. The earlier production Red Eye to Havre de Grace was a devised musical and dance piece, directed by Thaddeus Phillips, which focussed on trying to solve the mystery of Edgar Allen Poe’s death. Similar to Border Crossings and other works of Lucidity Suitcase Intercontinental, travel was an important element, although the plot was far more developed.
Lucidity Suitcase Intercontinental as its name suggests has no home. It is a travelling theatre that creates pieces which sometimes, as in the case of 17 Border Crossings, can be years in the making. It is based on trips that Thaddeus Phillips, the playwright and actor in this solo show, took over more than twenty years, starting in his youth. It is directed by Phillips’ wife and collaborator Tatiana Mallarino. The setting designed by Phillips is spare, consisting of a table, chair, microphone, radio and a long metal bar hung with lights that can be raised and lowered. In part, the bright lights serve to transition from one voyage to another. In one scene Phillips cleverly uses them to give the impression he is riding a bicycle. Phillips’ performance is reminiscent of Spaulding Gray’s monologues, but without the narcissistic intensity, while his set and David Todaro’s lighting recall Robert Lepage, but at a simpler level. Phillips audited Lepage’s work over a long period and appeared in his Miracle of Geometry. Lepage’s influence can also be seen in Phillip’s movement work.
Colloque aura lieu les 28-30 avril 2017, à l’Université d’Ottawa, Ottawa, Canada Des informations sur nos conférenciers principaux : http://artsites.uottawa.ca/studies-migration/fr/conference/key-notes/
nos événements spéciaux et nos présentations: http://artsites.uottawa.ca/studies-migration/fr/conference/ se trouvent sur le site Web du colloque.
Le programme du colloque : http://artsites.uottawa.ca/studies-migration/fr/conference/conference-program/
Au plaisir de vous rencontrer en personne dans une semaine. English follows. (Continue reading » )
In view of an exceptional arts event to celebrate the 150th Anniversary of Canada, three choreographers and three composers were chosen from across Canada, to create specially commissioned works by the NAC. This was an exceptional opportunity for audiences across the country but also for the artists to meet other companies and other dancers from other parts of Canada. They were invited to develop their own work freely and to have the rare chance to work with a complete orchestra .Each event lasted 30 minutes in Southam Hall and the whole evening which opened last night and lasted just over two hours, left much to ponder about the future of dance in Canada. (Continue reading » )
St. Lawrence Shakespeare announces MainStage cast, it’s brand new
“SideStage” plan, and the title of it’s popular Community Play!
April 18, 2017 – The St. Lawrence Shakespeare Festival announced details of it’s
programming and the casting for the summer season! !
Following last year’s swords and sandals hit Julius Caesar, this summer will transporting
the audience to ancient Egypt for the romantic sequel, Antony & Cleopatra in addition
to producing an original musical adaptation of the rollicking and swashbuckling story
The Three Musketeers. !
The MainStage cast features a host of talent! Returning for their 3rd consecutive years,
are veteran actor Richard SheridanWillis, who blew audiences away last year in the
title role of Julius Caesar, as well as the award-winning fight director, actor and
choreographer, Jonathan Purvis. ! (Continue reading » )