At 7pm tonight, Department of Culture and Project Democracy bringing you The Yes Men at The Royal on College in Toronto.
Entry is by donation, and the doors open at 6:30pm with the show beginning at 7pm.
Click here for the Facebook event page.
Click here to read more about on Torontoist and NOW.
Get there early to make sure you can get in.
by Shira Leuchter
Project 3/2/1 is an evening of dance that features three choreographies and a cast of six dancers, who perform all six roles on an alternating basis throughout the run of the show. I was very fortunate to have been able to sit in on a rehearsal of Ame Henderson’s piece, this body is another body, late in its rehearsal process.
As a response to the process that I observed, I made this piece using watercolour, ink, found text, a photograph of Philip Johnson’s Glass House, and an image of the night sky.
Project 3/2/1 runs from April 6 – 17, 2011 at Dancemakers Centre for Creation. You should probably go twice.
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Shira Leuchter makes performance stuff and other art stuff. She is currently working with UnSpun Theatre on a new piece that will be performed as part of Harbourfront’s HATCH program this April. She collects all of her shallowest thoughts here.
Click here to see “Your process is showing: an introduction”.
Text:
“Keep to the Light. Do not let your attention wander. Keep to the Light.”
– The Book of the Dead
Image:
Sound:
OnceHavingKnownYou
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Harbourfront Centre’s HATCH season continues with Mrtvolka from Daniela Sneppova and Penn Kemp. Exploring the space between light and darkness, between presence and absence, Mrtvolka presents a multimedia phantasmagoria that will travel the obscure borderlands separating recorded and live performance. Click here for ticket into.
Saturday, April 9, 2011
7:00PM Studio Theatre
by Shira Leuchter
Click to enlarge
Earlier this month, the amazing women who created Montparnasse invited me in to one of their rehearsals to observe their process for this series. Just in time for their preview performances starting tonight, I’ve finished a piece that responds to what I observed that day.
I created this piece using transparent layers of vintage sewing patterns, paper ruffles hand-sewn with embroidery thread, wood veneer and ink tracings of an etching of St. Basil monastery c.1757.
It was a joy to be in the room with Andrea Donaldson, Maev Beaty, Erin Shields, Kristy Kennedy and the other folks who are bringing this piece together. I heartily encourage you to make time to see Montparnasse during its run at Theatre Passe Muraille.
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Shira Leuchter makes performance stuff and other art stuff. She is currently working with UnSpun Theatre on a new piece that will be performed as part of Harbourfront’s HATCH program this April. She collects all of her shallowest thoughts here.
Click here to see “Your process is showing: an introduction”.
Click here to learn more about how MyHairCares can work with your hair to make a cleaner, safer planet for fossil fuels.
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Video discovered on the always compelling AWG: Chicago theatre blog. Clearly it was made to garner some big consulting bucks – still, it’s hard to not find the argument compelling. Things do seem to be advancing at more than an incremental rate…
Ladies and gentlemen your Rogers nightmare is over:
If you find this information useful or interesting spread it to your friends on Facebook, Twitter or email using the buttons below. An exodus of customers is likely the only thing that is going to get the genuine attention of telecom companies in Canada. Feel free to use the comments section below to discuss any problems you might have getting the same results as Al.
There is a group of young ladies from Notre Dame High School that would like to have their say about the production Jesus Chrysler, and how it has impacted them.
Christine Horne (r) plays poet Dorothy Livesay in Jesus Chrysler. She is mentoring an all-women teen theatre collective through the Paprika Festival who attended Praxis Theatre rehearsals last week.
That is us, an all-women cast with no one over the age of eighteen. We are participating in the Paprika festival for youth under 21, and it’s fairly safe to say our experience in theatre is limited to the classroom. In fact, the production we submitted came out of an exam six of us wrote and performed about oppression last year. It would be a fair assessment to say our progress has branched off from an oppression themed production, and we are currently collaboratively mounting something more to do with generation gaps and perceptions.
We work strongly together, primarily because we have been classmates for almost four years, and after working together for several months, Paprika decided to give us a mentor. Enter stage right, Christine Horne, our mentor and outside eye. She continues to work with us, and recently gave us the opportunity to watch one of the rehearsals for the show, Jesus Chrysler.
As a group of eight teenage women presenting their first production, we were grateful that the people of Jesus Chrysler let us sit in for one of their rehearsals. We had no idea what to expect as we walked into Buddies in Bad Times Theatre, we thought there would be some fierce director with a megaphone and a prima donna that always needed water. Those hoping Jesus Chrysler would have those two elements would have been severely disappointed.
When we entered, we entered a very calm atmosphere. After we were introduced to the team, they began their rehearsal, starting with notes and then beginning a full dress run through. They told each of us to move to different areas of the audience positions so they would know if they were being heard. If a line was getting lost we let Michael, the director, know. We watched Christine in action, working with Margaret Evans and Keith Barker, and noticed the cooperation between the actors and the director.
Any notes the director gave were listened to, but if the actors had any notes, they were heard as well. Someone that also really impressed us was Rebecca Powell, their stage manager, who seemed always focused. The way they worked with one another was a prelude to the actual show itself, it was clear they all had a common goal: tell the story.
Stage Manager Becky Powell, pictured here in tech,
We came in not really sure about what the play was about, or the story. None of us knew who Eugenia ‘Jim’ Watts was until they showed us, on stage. We were greeted with an intriguing personality, and had no idea this was a character born from someone with a strong history in Toronto until that time. After we left, we all checked in with each other to find out what we were all feeling.
There was this resonance towards the show, even if most of us didn’t know the story, simply because we could see that they all wanted to tell her story, and tell it well. This is something we weren’t doing for our own production, because we didn’t have a clear idea as to what story we were telling. They’re presenting a show about a woman that you want to know about. We got to an all girls Catholic school, focused on women’s empowerment, and we have never heard of the name Eugenia ‘Jim’ Watts. This is a woman we should know about, especially if we’re even remotely focused on the topic of empowerment.
There’s more to this play than the woman, but what we took away from the rehearsal was realizing the power of wanting to tell a story and realizing the importance of a story.
We hope the last two nights went well, and we are excited to come see it on Saturday. Thank you Jesus Chrysler.
Images by Will O’Hare Photography
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Jesus Chrysler runs for two more nights at the Buddies in Bad Times Rhubarb Festival. Rumour has it that Saturday night is selling out, so if you want to avoid disappointment tonight could be your best bet. Click here for tickets and more information.
Margaret Evans as Jim Watts in Jesus Chrysler by Tara Beagan
Jesus Chrysler
Wednesday February 16 – Saturday February 19 @ 9pm in the Cabaret at Buddies in Bad Times Theatre.
Click here to read a preview of the The Rhubarb Festival and Jesus Chrysler in The Toronto Star.
Image by Will O’Hare Photography
A photo of Tehran Bazaar from ON THE BOARDS IN IRAN
Ross Manson, Artistic Director of Toronto’s Volcano Theatre, is currently in Tehran, Iran as part of a five-person jury adjudicating an international competition within the 29th Fadjr Theatre Festival.
It seems Ross has been quite busy: seeing everything from Faust to Bouffon – while getting caught up in a major demonstration, worrying about three Estonian theatre artists who got taken in by the secret police for issues relating to camera use, and finding time to blog about it all.
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