Breaking Shakespeare’s Grip On How Theatre Tells History

“That Shakespearean model, with its focus on kings and the high-born, is wedded, one might argue, to the Great Man theory of history. Commoners must fight for space on Shakespeare’s stage—and it’s not obvious whether the drunkards and prostitutes who populate the tavern where Prince Hal escapes the burdens of court, for instance, serve as rehearsals for responsive sovereignty, critics of royal ideology, or comic baggage to be shed on the way to the throne.”

Leaders Of Alberta’s Two Largest Theatres Depart Signals Major Shift

“The departures come as Alberta’s oil-reliant economy is suffering – and all that that implies for arts organizations: corporate funding, individual donations and subscription and ticket sales. The loss of the two veterans at a time of financial unrest may add to a feeling of instability, but what’s waiting in the wings could instead be exciting.”

The Deal With ‘Mask Acting’ Is That It Can Sometimes Help Your Play

“In mask theatre the old can be young again, while the youthful can play the old. Gender, too, is up for grabs. It’s also an economically advantageous art form: a small company can play many characters. There is a strange alchemy about mask theatre. The ancient Greeks recognised its power and contemporary audiences seem increasingly drawn to a form that until recently was dismissed as a wee bit fusty.”

Why Are British Audiences Eating Up An American Comedy About An Entitled, Self-Flagellating Asshole?

“I feel like out of every kind of performance I’m involved in, theater is still the best way to communicate a story to a group of people. I think there is so much value in putting myself through the very difficult experiences of the character eight times a week because I think it communicates — on a macro-level, the human condition, and on a micro-level, third-generation malaise, self-loathing, the fear of immigrants usurping positions of power from hegemonic cultures like mine.”