About Us

The CCC is affiliated with the Canadian Association of Theatre Critics (CTCA) and the International Association of Theatre Critics (IATC).

Le CCC est affiliée a` l’Association canadienne des critiques de théâtre  (ACTC)et  à l’Association internationale des critiques de théâtre (AICT)

CAPITAL CRITICS’ CIRCLE –  WHO WE ARE

The BeginningsThe capitalcriticscircle.com website was founded in 2010 as the cyber/public voice of the Capital Critics’ Circle, a club of theatre critics, which began early 1980s. At that time, it included Audrey Ashley (Ottawa Citizen, English theatre), John Hare (Ottawa Citizen French theatre), Charles Haines and Alvina Ruprecht (CBC Ottawa), then the principal voices of professional theatre criticism in the city. We met regularly in one of the city restaurants. Over time, new faces joined us: Barbara Crook (Ottawa Citizen) John Coulbourn and Denis Armstrong (Ottawa Sun) and Iris Winston (Ottawa Citizen/Variety). The CCC also has a French component, which included reviewers from Le Droit (the founding member was Caroline Barrière) and Radio-Canada (Anne Michaud).

Early on, the CCC became a regional association officially affiliated with the Canadian Theatre Critics Association and was, therefore, also recognized by the International Association of Theatre Critics.

The Awards The CCC awards were instituted from the beginning. However, at first, they were simply informal announcements of our choices for best performances, best shows and best directors in English and French theatre, either in a news release or during a gathering in the foyer of one of the theatres, just before the opening of the first production of the season. In 2000, Iris Winston, with the backing of the group, was able to formalize the awards and obtain substantial financial and in-kind support from local sponsors. The new Capital Critics’ Circle theatre awards annual event, now in its thirteenth year, not only honours the best on local stages, but also brings together professional and community theatre participants and advocates.

Choice of  Critics: The critics writing for us have professional experience with some form of established media or university training in theatre studies. We also work with interns from the University of Ottawa theatre or communications programs.

The CCC website: The capitalcriticscircle.com site is devoted to theatre reviews, although opera and dance reviews do appear from time to time. We frequently publish more than one review of a show as our opinions may differ. We cover  performances in both languages, professional and community, in the National Capital Region and beyond. The emphasis, however, is on local theatre. A more recent development is the inclusion of our reviews of community theatre on the Ottawa Citizen blogsite.

The Awards: Our criteria for selecting award winners include the power of the performance, the quality of the research, the various components of the acting, the vision and strength of the director and the clarity and unity of the production. We consider all English-language professional and community (including university and theatre school) theatre productions that appear on Ottawa stages. The French critics, supported by Le Droit, honour French-language theatre separately.

We hope you enjoy reading us and we welcome your comments: alvinaruprecht@hotmail.com    iris.home@sympatico.ca   jamesportman@bell.net majastefanovska@gmail.com     drjanebaldwin@verizon.net

International Theatre Critics’ code of ethics 

Critics’ ethics are based on consideration for others, just as any code of civilized behaviour. The Canadian Theatre Critics Association accepts the premise that its members are dealing with contributions to the public by artists and technicians who have worked long and hard on their presentation. It is thus agreed that while such considerations must not inhibit the reviewer in any honest estimate, is does presume respect for the contributors’ efforts. Membership in the CTCA offers no license to insult, ridicule or denigrate artists who are serious about their work.

  • It is expected that critics be as objective as possible to achieve a balanced review. Comments on past performances or remarks on physical attributes of performers are justified only when and if the critic can establish a direct relevance to the production under consideration for description, interpretation, analysis and estimate. The production seen should be the production reviewed.
  • The critic should, whenever possible, prepare in advance of a performance. This includes reading all program and advanced material provided by the producing group. Reading a new script before attending its performance is optional but advisable.
  • The critic should attend the entire performance reviewed. If a critic must leave a performance early because of a deadline, this should be mentioned in the review.
  • The critic should behave in an unobtrusive manner, causing no distraction to audience members and performers. Arrangements for suitable seating should be made privately with decorum.
  • The critic should give full consideration and attention to all elements of a production. The work of supporting players, designers, musicians, and technicians is important, as well as that of leading players, director and author.
  • The critic should not under any circumstances exploit his or her position.

 

B. Code of  Ethics (CTCA

 

 


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