Professional Theatre

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…



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.


17 Border Crossings or Around the World in 20 Years

Reviewed by Jane Baldwin

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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.


Encount3rs/ Rencontr3s : World Premiere of three commissioned works at the National ArtsCentre.

Reviewed by Alvina Ruprecht

Photo. Barb Gray
Alberta Ballet Caelestis

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. (more…)

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  pour la suite ou consulter Les Lettres françaises ou

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

1979: An amusing play, not a satire

Reviewed by Rajka Stefanovska


Photo by Andrew Alexander

The year is 1979 and the Canadian political scene is in upheaval. The Conservative government has just replaced Trudeau’s Liberals, and the new Prime Minister, Joe Clark, is trying to govern the country on the principles of honesty, truthfulness, and adherence to his high ideals. During his short period in the cabinet, he meets with much stronger adversaries than the opposition party – human greed and corrupt nature. While he stays true to himself and to Canadians, he, as a political misfit, ultimately looses the battle. (more…)

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

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…)

1979: A clear demonstration of the entertainment value of Canadian politics

Reviewed by Iris Winston

1979 by Michael Healey GCTC/Shaw Festival co-production  Directed by Eric Coates

Principles are just part of the equation on the road to success in political life. Also pertinent are viable policies, cunning, surface charm and a willingness to change course, step away from principles, promises and even integrity to stay in power. (The old dictum of the Ins wanting to stay in and the Outs wanting to get in by almost any means has not changed much over the centuries.)

But, to Joe Clark, Canada’s 16th and youngest Prime Minister, principle and integrity were more important than power. Therefore, he remained in the PM’s chair for just nine months. (more…)

Barbecue: A Bizarre Family Story

Reviewed by Jane Baldwin


 Robert O’Hara’s play Barbecue is funny, thought provoking, filled with surprises and at times structurally confusing. It is the surprises, particularly one in the second act that make it difficult to write about since to reveal much is to act as a spoiler, but to remain unforthcoming does not allow the reviewer to do justice to the work. Boston’s Lyric Stage, where Barbecue is currently playing, carries secrecy to an unnecessary extreme refusing the audience programs until the end of the first act.

Barbecue takes place for the most part in a public park somewhere in Middle America. It begins with James T O’Mallery (Bryan T. Donovan) a brutish white man drinking a beer and talking on his cell phone as he waits for three of his sisters to join him. The park is set up with picnic tables and a barbecue that is never lit. Lilly Anne (Adrienne Krstansky), the family’s eldest sister has called her siblings together in order to hold an “intervention” for their youngest sister Barbara, otherwise known as Zippity Boom because of her addictions. When she drinks, she goes zippity; when she uses drugs, she goes boom. As James T. says, “there ain’t nothin’ in between.” Lilly Anne planned the barbecue as a lure to ensure that Barbara, who enjoys them, shows up. (more…)

Past Reviews