Monday, 23 April 2018

ONstage Openings for the week of April 23

ONstage Now Playing in Central Ontario
Guys and Dolls at VOS Theatre (Cobourg)
This week’s openings on Ontario’s stages

In Southwestern Ontario

Apr. 26, All My Sons at St. Marys Community Players
Apr. 27, The Rocky Horror Show at Stratford Festival [in previews]
Apr. 27, Twelve Angry Men at Elmira Theatre Company

In Toronto

Apr. 26, Selfie at Young People's Theatre [with previews from Apr. 23]
Apr. 26, There Goes the Bride at NAGs Players
Apr. 27, Perfect Wedding at The Village Players, Bloor West Village
Apr. 27, Stellabration at ACT II Studio Theatre

In Central Ontario

Apr. 27, The Addams Family at Peterborough Theatre Guild

ONstage Now Playing in Southwestern Ontario
Chariots of Fire at The Grand Theatre (London)
The running ensemble
Photo by Christina Kuefner

In Eastern Ontario

Apr. 24, Opry Gold at Upper Canada Playhouse (Morrisburg)
Apr. 26, Gracie at Great Canadian Theatre Company (Ottawa) [with previews from Apr. 24]
Apr. 26, One Flew Over the Cuckoo's Nest at Domino Theatre (Kingston)
Apr. 27, Butterflies are Free at Smiths Falls Community Theatre
Apr. 29, Steel Magnolias at Rural Root Theatre Company (Constance Bay)

In South Central Ontario

Apr. 28, sweaty and soulful at Shadowpath Theatre Productions (Thornhill)

ICYMI: Check out last week’s openings

For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website

Friday, 20 April 2018

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters

Equity in Theatre Symposium

Behind the Scenes at Ontario’s Theatres


TO Toasts


In Case You Missed It

Thursday, 19 April 2018

Stories from the Professional Theatre Training Program

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Today we feature four stories:
The next application deadline for the Professional Theatre Training Program is October 1, 2018.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Darwin Lyons

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Darwin Lyons trained in directing with Ravi Jain at Why Not Theatre in Toronto

(March 23, 2018)  This is a blog post about my thoughts after assistant directing Animal Farm, the play, written by Anthony MacMahon and directed by Ravi Jain. Animal Farm tells the tale of human adults, dressed in farm animal costumes, arguing about equality and equity in the political landscape of neoliberalism. The main response from people leaving the theatre is, “I have never seen anything like that in my life.” Some of those people said that with joy, some said it with a fire lit inside of them to start a revolution, some said it with confusion, and some said it with discomfort.

Anthony’s adaptation takes the rhetoric and tone of the novel and applies it to our time. Animal Farm is the closest thing I have seen to Epic Theatre in Toronto. Epic Theatre is Brecht’s idea of theatre as a tool to distance, and alienate the audience. I’ve always understood this to mean making an audience think as well as feel, to disorient them by not giving them catharsis. (Brecht scholars can contact me to point out the inaccuracies of my interpretation at ArguringAboutExactlyWhatDeadPeopleMeantIsOfNoInterestToMe@yahoo.com). Animal Farm brings us in and makes us feel, then pulls us away and makes us think. The modulated voices and rhetoric distance us and make us think about current political partisanship; but the sweet characters and hilarious jokes pull us in and make us feel. This push and pull can be unsettling. We are rarely unsettled in the theatre. We are familiar with being entertained, saddened, catharted, or disappointed but not unsettled. So what do audiences do with this feeling? Audiences are reacting differently with the feeling of being unsettled, and we can learn a lot about ourselves from how we deal with that feeling.

Animal Farm asks us to look at privilege. It asks us to look at how tempting it is to take glutinous care of ourselves while ignoring others’ starving. It asks us to see how easy it is to tell ourselves that we have power because we worked for it, not because it was handed to us through genetics and chance. It shows us how a lack of stability mixed with a lack of political and emotional education creates angry and dangerous masses. Animal Farm asks us to confront what makes our world, right now, unlivable for some and exorbitant for others.

Jennifer Villaverde, Raquel Duffy,
Michaela Washburn, Leah Cherniak.
Photo by Cylla von Tiedemann
In order to be sustainable, theatre needs to exist in capitalism. It is supposed to sell and make people want to come back and buy more tickets. Artists need people to buy their art, otherwise they won’t be able to survive and they won’t be able to make more art. Comedies sell well because they make us feel good, and we know what to expect. Tragedies sell well because they give us catharsis, and again we know what to expect. But if art has to be entertainment, and entertainment has to have a bottom line, can art ever explore areas of humanity beyond the binaries? I think it’s really cool that Animal Farm is so unsettling and is presented on such a large platform. I think it’s cool because I find our current world unsettling. I think art can be many different things, I think it can entertain, it can teach me and it can stir me to change. It can also placate me and allow me to tune out the world around me. How do we reconcile art that unsettles, with art that needs to inspire audiences to spend more money?

Besides Animal Farm I have rarely seen an audience listening so intently but without unified reactions. What I mean is that usually when an audience is on the edge of their seat they all laugh together, gasp together, or cry together. In the case of Animal Farm the audience is listening, but one person will laugh uproariously while another gasps in fear. What this is teaching me is that the push and pull of Epic Theatre is different for each person. One person might laugh at the satire of the one percent, and another might feel attacked. I think this push and pull is what is valuable. This push and pull makes me question my reactions, it makes me question what makes me unsettled. That feeling of being unsettled can make me put my head in the sand, or can make me ask myself: why do I want to feel placated? Do I want to live in a world that is full of selfishness and hate? Do I want to be full of selfishness and hate? I think that from that push and pull, from witnessing what my fellow audience members laugh and gasp at, we can push forward our conversations about our world.

Animal Farm looks at two revolutions, one against a tyrannical farmer and one against an oppressed pig turned oppressor. The second revolution, which we (spoiler alert) don’t see the aftermath of, is the most interesting to me because it teases at the revolutions needed of our time. As an artist, I struggle with ending a play on a question mark. Sometimes I think a question mark is the most useful because it asks the audience to come to their own conclusions. Sometimes I think as artists we need to offer alternative options. Animal Farm’s ending is really unsettling to me, I think because it is the revolution being asked of us now and I don’t know what would come next. We didn’t know what would come after Monarchy, but we fought for something better. What we have now is still oppressive and unequal, so what can we do to change it?

The ensemble of Animal Farm at Soulpepper Theatre
Photo by Cylla von Tiedmann
It is interesting to watch audiences take in Animal Farm, and then process it in conversations about Trump and Doug Ford at intermission. This play is so close to our life (maybe minus some pig costumes). What audiences are teaching me about this play is that we are in a new political moment. Epic Theatre was created in moments of need for political upheaval. Epic Theatre tried to make its audience wake up, to see their current circumstances with new eyes and then take action. As I read the news these days, I try to play a simple game with myself. The game is: how will this period in time be taught in history classes of the future? What will 15-year-old students think when they hear that the United States voted in an admitted sexual assaulter and white supremacist? Will they be baffled when they hear that we knew about global warming but didn’t stop filling landfills? What will young law students say when they study the cases of Colten Boushie and Tina Fontaine? Will they be appalled by how we allowed these injustices to happen? I hope so. I hope the generations of the future will think us horrendous. But more than that I hope that that we are at a turning point as a society. I hope we are beginning to wake up and that we will use this “awakeness” to make an equitable world, to have our own Animal Revolution.

Related Reading:

The next application deadline for the Professional Theatre Training Program is October 1, 2018.


Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Cole Alvis

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Cole Alvis training in directing with Nina Lee Aquino at Theatre Passe Muraille in Tkarón:to


(February 27, 2018) One of my responsibilities as Assistant Director of The Drawer Boy by Michael Healey at Theatre Passe Muraille is to write the land acknowledgement. It is my preference for this protocol to be spoken aloud prior to a performance by a leader from the theatre or artist connected with the work.

Buddies in Bad Times Theatre’s Dramaturge and Rhubarb Festival Director Mel Hauge speaks her acknowledgement over 20 times between both venues during the two-week festival. This commitment to addressing each audience is not always possible for performance venues and arts leaders often resulting in well-intentioned yet uninformed staff members speaking the obligatory words with cursory knowledge of the protocol and its meaning to the organization and/or the artists about to perform.

Nina Lee Aquino is the Artistic Director of Factory Theatre and for the recent run of Bang Bang by Kat Sandler requested Donna-Michelle St. Bernard and Kwaku Okyere write a recognition of the territories connecting the art on the stage with their understanding of this protocol. This acknowledgement was prerecorded, treated with a sound design to ensure artistry and incorporated into the opening moments of the production. Artists are moving this protocol forward to ensure there is context and a personal touch linking this action (recognizing territories) and the forthcoming production.

We are following suit for The Drawer Boy and Ojibway actor and comedian Craig Lauzon joined me recording the protocol complemented by sound design from Michelle Bensimon. It is important for this production (with Craig playing Angus) that people consider the original caretakers of the territories where Theatre Passe Muraille sits along with those where the quintessential Canadian play The Farm Show (inspiration for The Drawer Boy) took place. Through my work with Falen Johnson (Mohawk) and Jill Carter (Anishinaabe-Ashkenazi) I have learned how to recognize the territories here in Tkarón:to. Resources that supported my search for the original caretakers of what is now Clinton, ON include: 


I share these websites as resources for others looking to craft their own land acknowledgments and encourage you to consider âpihtawikosisân’s perspective in this article to ensure you move forward in a good way.

Here is the text for the pre-recorded land acknowledgement at our production of The Drawer Boy by Michael Healey at Theatre Passe Muraille (Feb. 28 - March 25, 2018):

Lauzon: (introduce yourself in your language) My name is Craig Lauzon. I’m an Ojibway actor playing Angus in this production.
Alvis: And my name is Cole Alvis, I’m a Métis artist and the assistant director.
Lauzon: We recognize the original peoples of this territory: the Haudenosaunee, Wendat and Mississauga Anishinaabe nations.
Alvis: The Drawer Boy by Michael Healey is set on a farm near what’s now called Clinton, Ontario. The original and ongoing caretakers of that area are the Haudenosaunee, Odawa and Anishinabek peoples.
Lauzon: We are grateful to the elders, water protectors and language keepers of these territories past, present and future.
Alvis: Stories have been told here since time immemorial and we recognize their power to move and transform.
Lauzon: This play is about storytelling and we invite you to learn about the Dish With One Spoon Wampum Belt Covenant that continues to govern these territories today. 
Alvis: There is one intermission in this performance. Out of respect for the actors please dim and silence your phones. Photography and video is not permitted. 
Lauzon: Meegwetch for attending our production of The Drawer Boy in celebration of Theatre Passe Muraille’s fiftieth season on these lands and waterways.

Related Reading:

The next application deadline for the Professional Theatre Training Program is October 1, 2018.


Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.