The Clean House Photo: Poster thanks to Three Sisters Theatre Company
The Clean House by Sarah Ruhl
I have become suspicious of local productions that advertise a version of the same play that has been a big hit in New York!! This assumes that the audience cannot distinguish between a production in one city and a production in another city . In the case of the Three Sisters production of The Clean House, that New York reference created enormous expectations that were soundly trounced by this show at the Gladstone. (Continue reading » )
Nick Cartell as Jean Valjean in the prologue
It was the opening night in Ottawa of this newest 2017 version of Les Misérables. The original French text of the stage presentation first appeared in 1987 ( Alain Boublil and Jean-Marc Natel). Later adapted for the English language stage by James Fenton , Trevor Nunn and John Caird,) both musical versions have been seen at the NAC. The production is under the general direction of Laurence Connor and James Powell. (Continue reading » )
Pipeline Project Photos: Maria Vartanova Twilight Parade: An imaginative lens for contemporary issues?
Reviewed on Saturday, February 10 by Natasha Lomonossoff
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Siena, Photo: Jesus Robisco
European performance is slipping through boundaries, transforming relationships between film, dance, painting, dramatic texts and the human body and in all this apparent chaos which redefines live performance, the world of the “post-text” and all forms of creation in space speak equally to each other in unexpected ways. In Canada, Robert Lepage opened the performance space many years go to this kind of visual/corporeal /technologically based work that one could no longer call simply “theatre” but that seemed to relegate the text to another conceptual dimension, thanks to his collaboration with European festivals and creative centres across the Western world. Now, a lot of companies are moving in that direction, apparently feeding off the imaginative style of Italian performer Romeo Castellucci’s work that unites the troubled subconscious of victims of violence of our contemporary world. His bits of spoken word and dialogue often based on the great founding narratives of the Western World, take audiences far away into visually disturbing places of pre-civilization, where we can rediscover the human body and rethink its role in the human uhrschleim of existence. (Continue reading » )
Guillaume Côté (Nijinsky) and Heather Ogden (Romola)
The National Ballet of Canada’s staging of John Neumeier’s Nijinsky, the artist who, by his personal and professional life, has certainly had the most influence on contemporary dance in the world, will go down in the annals of dance drama performance. For the spectator, it does help if one is aware of the history of the Ballet Russe and the different individuals who worked with Nijinsky during his brief professional life because Neumeier’s vision of the work does not try to reproduce autobiographical accuracy or even imitate the many performances that attracted attention to Nijinsky’s dancing . His emphasis is elsewhere. (Continue reading » )
Sarah and Matt Cassidy are back at the Gladstone Theatre producing a British panto style show for the holiday season, one that is particularly relevant this year with the deep frost vortex from the north that has turned us all into living icicles. Written and directed by Ken MacDougall, the show has taken, as it did last year, a well-known young people’s story, transformed it into a tale best suited to Ottawa in winter and located it in a section of the city that allows local merchants to show off their stores, take part in the shenanigans and become a perfectly amusing background to this version of Alice down the Rabbit hole, where the frigid wonderland is not the one we were expecting. (Continue reading » )
Photo Manuel Harlan
The story by Theodor Seuss Geisl (Dr. Seuss) that has made its way through various forms of animated cartoon films, is now playing at the Royal Alex in Toronto, after an opening performance in October 2017 in London.
Yes indeed!! We have all been watching the National Theatre Live bringing performances at the Old Vic and the New Vic, into Canada via satellite. This time, the David Mirvish production of The Lorax brings a whole British cast and creative team from the Old Vic into one of its own theatres in Toronto for a perfectly executed and utterly polished performance of the Lorax live without the camera! The experience is so completely exciting it had the little ones and the older ones glued to their seats for almost two hours and 15 minutes including the intermission. (Continue reading » )
. Publié le 6 décembre sur www.theatredublog.unblog.fr Paris
Brad Long, Building the Wall,
Cette pièce dont l’auteur américain, qui a obtenu de nombreux prix (Tony et Pulitzer), a aussi écrit des scénarios pour le cinéma et la télévision aux États-Unis. Construire le mur qui a tourné aux Etats-unis vient de terminer sa création canadienne à Ottawa et le public s’y est précipité; les œuvres de ce genre sont en effet rares chez nous! Depuis l’arrivée de Donald Trump au pouvoir, l’image du mur est devenu le symbole de son projet politico-idéologique : une construction qui enferme, interdit, exclut, rejette, isole, sépare. La pièce montre, avec une simplicité désarmante, notre glissement, presque imperceptible, vers une absence de conscience, une indifférence qui aboutit à la normalisation et la légitimité des gestes les plus horrifiants.
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En juin dernier, au Centre des Arts d’Ottawa, Marie Brassard a monté un spectacle à partir des textes de Nelly Arcan, une jeune écrivaine qui s’est suicidée à trente-six ans, à Montréal: La Fureur de ce que je pense d’après son roman(voir l’article de Jane Baldwin http://capitalcriticscircle.com/?s=Nelly+Arcan), premier jalon théâtral de la création auto-fictionnelle cette année, puisque l’école de théâtre de l’Université d’Ottawa poursuit une expérience semblable. (Continue reading » )
OCD Love (L-E-V Dance) Photo. Courtesy of the National Arts Centre
This latest work by the Israeli dance company LEV Dance, created by Sharon Eyal and Gai Behar is a terrifyingly complex moment of corporeal inventiveness that subjected the dancers to the most demanding feat of choreography I have ever seen.
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