Witnessing has its costs, its collateral damage. Artists run the risk of vicarious traumatization, but being forced to look is a far different act than forcing a look. This distinction is made between a present-day Métis journalist, Angeline, and the 19th Century photographer, Edward Curtis.
In a published conversation included in the program for Theatre at UBC’s production of Romeo and Juliet, director Catriona Leger uses the word “fun” four times.
Is that Sister Lawrence in the back? Megs Chenosky and Jameson Parker with Barbara Kozicki doing some fire dance behind them. Photo Tim Matheson
Among a slew of high profile events, So Percussion’s back-to-back performances on the beautiful main floor of Heritage Hall may be PuSh Festival’s hidden gem.
With Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe, members of Catalyst Theatre display their considerable talent for physical theatre by interpreting the life-story of the famous American man-of-letters.
First up, point of disclosure: I am SFU alumni with a soft spot for the School for Contemporary Art and was delighted to be part of the première production at the school’s new theatre in the Woodward’s complex.
Here's the second part of Justin Haigh adventure at Toronto’s Next Stage Festival. The Festival finishes this weekend.
Gas This intense play from writer/director Jason Maghanoy presents a familiar yet contemporary depiction of modern warfare (in this case using Iraq as his creative sandbox) by incorporating age-old ideas, such as the hyper-masculine soldier, as well as relatively new ones, such as the importance of the unfiltered recorded image (an idea that also played an important role in Maghanoy’s last play, Dust). Gas is splintered into two narratives; the first of a unit whose chain of command is thrown...
