Blog: Johanna Nutter and the Journey of My Pregnant Brother (Part VIII)

Ten

Time distills. It takes the gritty real and makes memories out of it; strings of pearls, some cloudier than others. And photographs don’t always present the meat of the matter. This is what I’m thinking as I begin this account of the last days of the run. 

Beyond the Fourth Wall, August 3, 2011

Montreal bridges may be falling down...

but the tranquility of Beaver Lake is holding up perfectly

(autumn photo: Bruno Lajeunesse)

Dog Days of August getting you down…a few helpful hints

by Estelle Rosen

After Dark, August 2, 2011

Divas'r'Us
Opera is new and shiny and still star-scourged
By Gaëtan L. Charlebois

EVENT: Did I escape, I wonder...

EVENT: The Mysterious Case of the Flying Anarchist

The Upstage Interview: Aaron George, Ace Lopes (Titus Andronicus)

There are arguments that Shakespeare isn’t relevant any more but judging by the reaction of students when we bring shows to schools whether elementary or high school, indications are Shakespeare is still relevant.

Upstage Host Eric Sukhu spoke with Director Aaron George and Executive Producer Ace Lopes about The Montreal Shakespeare Theatre Company’s production of Titus Andronicus.Below is an abridged version of interview edited by Estelle Rosen, CharPo Editor-in-chief.

Review: Macbeth

The Play Which Dare Not Speak its Name
...theatre with the best intentions...
by Émilie Charlebois

Sunday Feature: Michaela di Cesare on remounting 8 Ways

Testing the Scripture 

Possible outcomes of a remount of 8 Ways my Mother was Conceived among its very subjects

by Michaela Di Cesare

Then Jesus told them, "A prophet is honored everywhere except in his own hometown and among his relatives and his own family." – Mark 6:4

When I was invited to a meeting with the National Congress of Italian Canadians at the gilded monument we call the Leonardo Da Vinci Center in St-Leonard, shortly before my run at FRINGE had begun, I thought only one of two things could happen:

• I’d walk through a large, ornate door that would shut mysteriously behind me, after which I’d find myself facing the back of a tall chair. Following my tentative hello, the chair would swivel slowly, revealing a fat gangster chewing on a cigar. With a subtle gesture he would then summon his goons, willing them to appear from where they had been lurking in the shadows. At which point they’d put a bag over my head, tell me I had dishonored my people and must be silenced. And before I knew it, I’d be swimming with the fishes… Or this more pleasant version:
• I’d walk through the door, swivel, yadda yadda—but then I’d be offered a bazillion dollars to make the play a propaganda piece for the Italian community and tour the world with it, accompanied by my very own pair of goons who I’d affectionately name Sal and Vinny-- following a soul-searching pondering of my artistic integrity, of course.

Sunday Feature: Paul Hopkins on creating Macbeth

Notes on Building Macbeth

Paul Hopkins, Repercussion Theatre’s Artistic Director, will be playing the lead role of Macbeth for this summer’s Shakespeare-in-the-Park tour.

This collection of notes I’ve written is a musing on my experiences building Macbeth’s character over the past how-many-ever months. Everything I write may not be true. Everything I write may not even make sense. This is just intended to be a collage of consideration.

‘Horrid Image’ vs. ‘Nature’  – that’s fucked! How is anyone in the audience supposed to get that the Horrid image is the murder of Duncan. What’s the horrid image to me? I think ‘nature’ is the thought of actually the murdering someone is repellent, against nature – if you really think about it, the actual act of it.

Theatre For Thought, July 30, 2011

THE GREAT PLAYBILL DILEMMA

Are programmes a thing of the past?

joel fishbane