Arts News

Brault is back at the Gladstone in May. Elmyr de Hory returns!!

News from Capital Critics Circle

Photo: McGihon /Postmedia Pierre Brault.

 Coming to the Gladstone in May,  2017  WATCH for it!!
A piece of relentless theatre history rejuvenated by the  Gladstone..
Artist, fraud, chameleon, victim.  Elmyr de Hory was all of these, and arguably the most notorious, successful and prolific art forger of the twentieth century.  Never fully recognized as an artist in his own right, and eternally frustrated by this fact, de Hory turned to painting in the style of his contemporaries, including Matisse, Picasso and Modigliani, and passing off the results as originals with astonishing success.  After decades spent toiling in anonymity, Elmyr de Hory, at once the swindler and the swindled, finally reveals his own private truth as told by playwright and actor Pierre Brault.

 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.


Portrait of an Unidentified Man premiered in Ottawa in February, 2005 as part of the National Arts Centre English Theatre subscription season.  It was subsequently revived at the NAC in July, 2005 due to popular demand.  The following year the production toured to the Vancouver East Cultural Centre, London’s Grand Theatre, the Magnetic North Theatre Festival in St. John’s, NL. and a New Zealand tour in 2009.
Read some of the reviews of that period even if the shows are off the air…

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LE THÉÂTRE FRANÇAIS DU CENTRE NATIONAL DES ARTS DÉVOILE SA PROGRAMMATION 2017-2018

News from Capital Critics Circle

Que cette nouvelle saison vous illumine !

Brigitte Haentjen entame sa troisième  saison….

Le 26 avril 2017 – OTTAWA – Brigitte Haentjens, directrice artistique du Théâtre français du CNA récemment lauréate du Prix du Gouverneur général pour les arts du spectacle, nous invite à découvrir des créations puissantes et lumineuses, autant poétiques que politiques, conçues dans une pluralité de formes par des artistes qui interpellent, chamboulent, éveillent… Des créateurs de notre temps qui mettent le présent au cœur de leur démarche. Des rêveurs lucides qui ont foi dans le théâtre en tant qu’art vivant. Des réveilleurs allumés qui transforment le théâtre en véritable lieu des apparitions.

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Colloque sur Migration/Représentation/Stéréotypes

News from Capital Critics Circle

Antony and Cleopatra
Stratford Festival 2014

 

 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. (more…)

Gladstone announces its 2017-2018 season

News from Capital Critics Circle

                                       The Gladstone’s 2017-18 Season

I dare you to take a look !!

Saint Lawrence Shakepeare returns this summer with the Three Musketeers

News from Capital Critics Circle

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. ! (more…)

La Résistible Ascension d’Arturo UI, à la Comédie française

News from Capital Critics Circle

La Résistible Ascension d’Arturo Ui, de Bertolt Brecht. Mise en scène de Katharina Thalbach. Comédie-Française, Place Colette, Paris 1er, à 20 h 30, en alternance. Jusqu’au 30 juin. Tél. : 01 44 58 15 15.

En décidant de faire entrer la Résistible Ascension d’Arturo Ui au répertoire de la Comédie-Française, Éric Ruf se doutait-il que les représentations commenceraient à peine un mois avant les élections présidentielles qui voient la menace de ce que dénonce Brecht (la peste brune) se faire de plus en plus précise ? Si hasard il y a, il est forcément objectif ! La pièce écrite par Brecht en 1941 faisait directement référence au nazisme qui l’avait contraint à s’exiler, en Finlande d’abord où il rédigea son texte en trois semaines, aux États-Unis ensuite. La fable qu’il invente décalque très exactement les faits et gestes qui menèrent Hitler et ses sbires au pouvoir……

Voir  www.facebook.com/capitalcriticscircle  pour la suite ou consulter Les Lettres françaises ou madinin-art.net.

Jean-Pierre Han dans les Lettres françaises du 12/04/2017

At the GCTC, 1979 plays prime ministers for laughs

News from Capital Critics Circle

Kelly Wong rehearses the role of John Crosbie during rehearsal for the play 1979 at the Great Canadian Theatre Company. Photo by Chris Donovan
Kelly Wong plays the role of John Crosbie during rehearsal for the play 1979 at the Great Canadian Theatre Company. (Photo by Chris Donovan) Chris Donovan / Ottawa Citizen

1979
Great Canadian Theatre Company
April 13 to 30
Reviewed Thursday

How dire was Joe Clark’s situation in December 1979 when the novice prime minister was about to call the federal budget vote that would topple his government?

“Absolutely as crisis-y as it gets,” says the extremely fictionalized Clark in the highly political but hilarious play 1979, which opened Thursday night to a packed house at the Great Canadian Theatre Company.

If crisis, as they say, is fraught with opportunity, then Clark’s predicament gave playwright Michael Healey the opening he needed to load 90 minutes with no shortage of laughs and, indeed, insight into how our country’s been run over the years.

Read  the rest on line…… (more…)

From Paris to Broadway: Pops Concert at the NAC

Reviewed by Iris Winston

 Pops Concert, National Arts Centre, Conductor: Jack Everly

In introducing From Paris to Broadway, principal Pops conductor Jack Everly said that the aim of the French-themed concert, which had been two years in the making, was to create the spirit or feeling of Paris.

And this is exactly what happened in a joyous collection of music, song and dance that evoked visions of the Folies Begères — the famous cabaret musical founded in Paris in 1869 — (think rhinestones and feathers, Everly advised) such singers as Maurice Chevalier and Edith Piaf, and composers closely associated with the glitter of French entertainment, such as the German-born Jacques Offenbach (think Cancan). Music from the musical Gigi and the delicate rendition of the Moulin Rouge Waltz added a further dimension to visions of Paris. (more…)

The Magnetic North Theatre Festival, slated to open in Ottawa this June, has been cancelled.

News from Capital Critics Circle

 

 

Derek Walcott, a Mighty Poet, Has Died- by Hilton Als (The New Yorker)

News from Capital Critics Circle

Derek Walcott, a Mighty Poet, Has Died
By Hilton Als March 17, 2017

Walcott’s poems explored, among other themes, the sea, memory, and the joys and terrors of physical love.
Derek Walcott was a complicated person and a great poet, and often those things are not divisible. The time I spent with him and his beautiful German-born partner, Sigrid Nama, in Derek’s native St. Lucia changed my life in ways that extended past the New Yorker Profile I wrote in 2004. I felt as though I had always known him—not known him, exactly, but seen him, been in his aura, his history, because, like my father, Derek was the product of a profound world, a distinctly Caribbean world with its history of colonialism and its imperceptible change, and home to so much more, including mothers who spared no amount of love to make you understand that you were their bright boy. Derek’s mother, Alix Maarlin, a schoolteacher, helped him publish his first poems, and it was the light of that first love that Derek always stood under; it made him shy about intimacy, while closeness was something he always sought. The first Mrs. Walcott believed in him with a pride that eclipsed the great honor of his 1992 Nobel Prize for Literature because she was the first to say, if only in her mind: “Why not be Shakespeare?” Anything was possible, and where you were from was just part of the story. (more…)

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