Author: Capital Critics Circle

This section is reserved for Arts News that comes our way via press releases from theatres in the area, or newspaper articles about arts events that are not theatre reviews.
GCTC brings Hannah Moscovitch’s What A Young Wife Ought to Know to the Stage with Intimate Performance

GCTC brings Hannah Moscovitch’s What A Young Wife Ought to Know to the Stage with Intimate Performance

What a Young Wife Ought to Know. Photo Tomothy Patrick

 

Reviewed by Kellie  MacDonald.

                Cold, dirty, ugly, and boring: Hannah Moscovitch’s descriptions of Ottawa in the 1920s do not shy away from the grim realities of factory labour and tenement housing. Sisters Sophie (Liisa Repo-Martell) and Alma (Rebecca Parent) navigate an era of of rapidly changing attitudes towards sexuality, but still find themselves at the mercy of medicine, a patriarchal society, and entrenched class structure. Directed by Christian Barry, Ottawa-born Moscovitch’s What A Young Wife Ought to Know is produced by Halifax-based 2b Theatre Company and presented by the Great Canadian Theatre Company at the Irving Greenberg Theatre Centre.

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Grounded ; Death by Remote Control….at the Gladstone

Grounded ; Death by Remote Control….at the Gladstone


Grounded features  Alexis Scott

 The play Grounded by George Brant is an interesting concept. It poses questions about the modern military and the role of women in the traditional male roles of service. It also examines the depersonalization of combat through robotics and in particular drone warfare. When we first meet the pilot played by Alexis Scott she is still a hands on pilot,  flying  a plane in a real life eternally blue sky. She revels in the the Air Force fraternity and knowing that she is an isolated sister in the testosterone infused world of the flight officer.

After having gone through pregnancy and motherhood, the pilot returns to work only to find that technology has dramatically altered the life she knew. Through the use of drone, the blue experience of actual flying has been replaced by grey humdrum of monitors and remote control. She finds herself travelling from one screen at work to another one at home. I don’t believe that the author’s point is that war is less horrible or more glorious in real life. I think his intent is more about the numbing effect of technology that might actually be an impediment to diagnosing the prevalence of PTSD and other stress related side effects of war.

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Dieudonné Niangouna rend hommage à son maître, Sony Labou Tansi,

Dieudonné Niangouna rend hommage à son maître, Sony Labou Tansi,

L’image contient peut-être : une personne ou plus, personnes debout, nuit et chaussures

Théâtres francophones  

Au théâtre de la Colline:
Dieudonné Niangouna rend hommage à son maître, Sony
Labou Tansi, en adaptant l’une de ses pièces les plus célèbres,
Antoine m’a vendu son destin, et en y mêlant ses propres
textes. Un condensé de l’Afrique en un temps record, 1h30, il y
a longtemps que Dieudonné Niangouna n’avait pas présenté un
spectacle aussi resserré.Dieudonné Niangouna a 9 ans lorsque
Sony Labou Tansi et Daniel Mesguish répètent Antoine m’a vendu son destin à Brazzaville. Il observe les répétitions du spectacle
qui sera créé en 1986 au Festival International des Francophonies de Limoges

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Lepage’s 887: An Innovative Exploration into the World of Memory

Lepage’s 887: An Innovative Exploration into the World of Memory

887 Photo Erick Labbé.

Reviewed by Natasha Lomonossoff

Ex Machina’s production of Robert Lepage’s recent play 887, showing at the National Arts Centre’s Babs Asper theatre, is a true triumph in innovative storytelling. The technologies of video and image projection work to complement the events and interactions that are recounted onstage in a way that is meaningful rather than cheesy. The program for the show states that “Ex Machina’s creative team believes that the performing arts-dance, opera, music-should be mixed with recorded arts-filmmaking, video art and multimedia.” Upon seeing a performance of 887, one is inclined to agree.

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Nijinsky: a provocative and fascinating exploration of the artist’s complex inner journey.

Nijinsky: a provocative and fascinating exploration of the artist’s complex inner journey.

Nijinsky, Photo courtesy of the National Ballet of Canada

NAC Presentation  from the National Ballet of Canada

Thrilling in scope, John Neumeier’s dazzling ballet is theatrical and unflinching, paying reverent, astute tribute to a tortured genius.  Vaslav Nijinsky changed the trajectory of dance in a spectacular and ephemeral career that came to an abrupt end with his descent into madness at the age of only 29. In this exhilarating production, the entire company draws on its extraordinary heart and stamina to bring to dramatic life a provocative and fascinating exploration of the artist’s complex inner journey. Nijinsky  is an unforgettable, balletic tour de force of artistry, narrative and spectacle.

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OLT’s An Inspector Calls: Dark Comedy or Impactful Social Drama ?

OLT’s An Inspector Calls: Dark Comedy or Impactful Social Drama ?

An Inspector Calls
Photo: Maria Vartanova

Reviewed by Natasha Lomonossoff, Wed. January 10, 2018

The Ottawa Little Theatre’s production of An Inspector Calls, the classic mid-20th century drama by British writer J.B. Priestley and directed by Jim McNabb, is one which leaves something to be desired for the more socially-conscious viewer.

As a performance given by actors, it is not entirely unsuccessful; the laughter elicited from the audience at even odd moments during the show attests to this. The task of meaningfully transmitting Priestley’s message of social responsibility for others, however, is where McNabb’s vision falls short.

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David Hare: My ideal ‘theatre…new years even wished from one of Britain’s most popular playwrights.

David Hare: My ideal ‘theatre…new years even wished from one of Britain’s most popular playwrights.

In 1946, George Orwell wrote his last essay for the Evening Standard. He described an imaginary pub, the Moon Under Water, where the music was quiet enough for conversation, the bar staff knew all the customers’ names and where you could always get a cut off the joint and a jam roll for three shillings.

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Alice In Winterland Family Friendly? I Think Not!

Alice In Winterland Family Friendly? I Think Not!

Jessica Vandenberg as Alice in Winterland!
Photo Dominique Gibbons

Written and Directed by Ken MacDougall
Musical Direction by Wendy Berkelaar
Choreographed by Jessica Vandenberg
Produced by Matt Cassidy and Sarah Cassidy

On a night when Ottawa was the coldest capital city on the planet, I appropriately ventured out to see a local production called Alice in Winterland. It seemed a proper choice of entertainment to bridge the Christmas and New Year festive season. It is a pantomime show which incorporates broad actions combined with music and intended primarily for children in what is described as family friendly theatre.
There are a number of adult jokes sprinkled throughout that were not particularly funny which makes their inappropriateness more offensive. I was left wondering whether writer director Ken MacDougall thought the insertion of campy, raunchy vaudeville was the only way that adults could be inspired to bring their children to the theatre. I again wondered if he figured that it would be okay because the phallic references would be lost on the children. In any event, the crass gratuitous dick humour was anything but family friendly.

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Ashes to Ashes, by Harold Pinter at the Europe Theatre prize in Rome

Ashes to Ashes, by Harold Pinter at the Europe Theatre prize in Rome

Isabelle Huppert with Jeremy Irons  reading Ashes to Ashes by Harold Pinter.Photo Franco Bonfiglio

The XIV Europe Prize Theatrical Realities went to Susanne Kennedy, Jernej Lorenci, Yael Ronen, Alessandro Sciarroni, Kirill Serebrennikov, and Theatre N099. Estonia. The Special Prize was awarded to Dimitris Papaioannou. Wole Soyinka and Fadhel Jaibi were chosen as the recipients of the Special Europe Theatre to extend the recognition of theatre excellency beyond Europe. The XVI Europe Theatre Prize was awarded to Isabelle Huppert and Jeremy Irons.

Report by Yana Meerzon from Rome

Festival Quatre Chemins Entretien avec Guy Régis Jr.

Festival Quatre Chemins Entretien avec Guy Régis Jr.

 

guy régisGuy Régis Jr. a pris la direction artistique de ce festival en 2014, à la suite  de la Fokal, qui l’avait fondé à la demande d’artistes haïtiens: comédiens, musiciens, plasticiens, réunis en collectif, sous la houlette de Daniel Marcelin, metteur en scène et directeur du Petit Conservatoire jusqu’à sa fermeture en 2014. Le jeune artiste revenait d’un séjour de six ans en France. « J’ai quitté Haïti, dit-il pour croiser mon travail avec d’autres artistes, ici, je continue ».

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