A unique aspect of Daisy is the plot’s relevance to the divisive political landscape that permeates society today. In Daisy we encounter what the writers presume to be the inception of the modern day ‘attack ad.’ Its irreversibly deleterious effects upon American politics and the integrity of political campaigns are as discussed and feared then as they are now.
The Press Play Reading Series, an event organized by the Playwrights Canada Press, offers its attendees a mini-theatre experience — a chance to discover the works of both well-established and up-and-coming Canadian playwrights and theatre artists.
A “period piece” for the 21st century In a night of facts, science, storytelling, and song and dance, A Period Piece, performed by Spicy Day, an award-winning theatre company from Ottawa, left no stone unturned in their mission: to encourage conversation, destigmatize and increase comfort level surrounding periods and menstruation. Opening on Friday, Nov. 5, …
Theatre: this is an “until death do us part” situation, and I’m not going anywhere. I’m here for you through the rough patch.
Dear Evan Hansen: today is going to be a controversial day … Sincerely, me!
It seldom happens that such a cast as Come From Away’s can be preserved digitally forever, eschewing the ephemeral and resting fossilized in the online ether.
The particular demands of the practical arts complicate the already-complex process of reinstating in-person learning at the U of O
You’re excited for a version of undercurrents that’s either in-person or that finds other, creative ways to engage its audience outside the clutches of the Internet.
To my year-ago self: I cannot possibly warn you of what’s to come. There’s a wild ride ahead. But you’re going to get through it.
Local theatre makers Nicholas Leno (a 2016 U of O MFA directing alum) and Norah Paton have created an immersive, site-specific, audio production of A Christmas Carol to be delivered to audience’s houses in a convenient box.
Stéphie Mazunya’s monodrama will be the only French selection in the upcoming 21 Black Futures season at Obsidian Theatre in Toronto.
The cinema is where I had my first big birthday party. It’s where I saw my first horror film. And it’s also where I went on my first date. Even though the pandemic bars me from the cinema, I hold onto the notion that the cinema is a place of inspiration where I learned to empathize with people with stories different from my own.
To motivate students, one theatre professor has made bubonic plague-era masks mandatory for all of her classes.
The undercurrents theatre festival bills itself as “theatre below the mainstream.” It’s a festival of boundary-pushing theatre by both emerging and established creators that gives creators a chance to stage their new works.
High school students are using theatre to keep the stories of abuse and perseverance at Bell High School alive at Ottawa’s Fringe Festival.
A member of Greenland’s Inuit community, Vivi Sørensen said she was compelled to properly tell the stories of Indigenous Peoples. “My main reason for wanting to direct is the fact that our stories … are always told from outside. And I felt like there’s a misportrayal, there’s something that’s wrong.”
There is enough personal and professional intrigue to earn the play’s description as being about “the abuse of power, political expediency, and the masks we wear to carry on as if everything is as it should be.” I think, acutely aware of my privilege as a white cisgender male, the key word here is abuse.
Although improv is, well, improvisational, there’s a lot of work that goes into preparing for a show. Campbell described it as tools to keep in your back pocket—knowledge of how stories progress, different genres and styles to perform, and other tricks and tools learned from plenty of practice.
“It’s a release—it’s very different from what I normally do at school … I just get to come to forget everything—here I can be some crazy, wild character.”—Sarah Robach, fifth-year biology student.
“I think a lot of them were intrigued by the story, by the text, by the way it was written because it’s not your regular realistic drama—it goes way beyond that,” explained director Melina Buziak. “The characters often break the fourth wall and refer directly to the audience and the text is really intriguing.”
This Ottawa-based festival gives students, and new performers a chance to try new things on stage.
What begins as a “safari of other people’s pain and suffering,” as Mtuli put it, turns into the photojournalist intensely following the illegal romance of Alexander, an ethnic Serb, and Mirela, a Muslim.
Undercurrents is a non-mainstream theatre festival in the heart of downtown Ottawa.
The spirit of this event is precisely to be a platform for non-conventional and experimental theatre.
Starting in their 2018 season, the GCTC will be turning one of their plays into a podcast and putting it out for free.
