Lots of great stuff coming up.
Sunday, March 28, 2021.
From Factory Theatre
March 28-April 22, 2021.
You Can’t Get There From Here is a brand new collection of audio dramas from Toronto’s Factory Theatre. A limited series featuring five commissioned audio theatrical works from some of our country’s most creative minds (Playwrights Anusree Roy, Matthew MacKenzie, Yvette Nolan, Keith Barker, and Luke Reece), You Can’t Get There From Here offers listeners fresh perspectives on familiar Toronto landmarks and neighbourhoods and glimpses into the micro-dramas occurring each day around us, hidden in plain sight.
Each episode offers a new, self-contained story and a vivid audio experience from each of our five playwrights and the series features the vocal talents of over 20 artists. Audiences can choose to listen from the comforts of their own rooms, or take a journey across the city – either way, they are sure to see the land on which we live and work anew.
Episodes will released once a week over the course of 5 weeks beginning March 25, 2021 and will be available online for free everywhere podcasts are available including: Spotify, Apple Podcasts, and Google Podcasts.
The first audio drama was Sisters by Anusree Roy. It was 15 dazzling minutes of the gripping drama one has come to expect from Ms. Roy.
Sunday, March 28-April 11, 2021.
Nightwood Theatre and Native Earth Performing Arts present
EMBODYING POWER AND PLACE
Curated by New Harlem Productions
March 28 – April 11, 2021
(Toronto)—This spring Nightwood Theatre and Native Earth Performing Arts are honoured to present Embodying Power and Place, curated by Donna-Michelle St. Bernard and New Harlem Productions. In 2019, the federal commission on Missing and Murdered Indigenous Women and Girls released their final report, Reclaiming Power and Place. In 2020 over a dozen artists from a wide range of disciplines were commissioned by New Harlem Productions to read and respond to specific chapters of the report. This digital iteration of Embodying Power and Place offers twelve audio-visual works that seek to honour the lives of the missing and murdered Indigenous women, girls, Trans, and Two-Spirit people, and strives to create a sacred space in which to reflect, heal, and find renewed hope.
Incorporating text, sound and imagery, Embodying Power and Place features work by incredible Indigenous creators such as Janet Antone, Reneltta Arluk, Tara Beagan, Yolanda Bonnell, Darla Contois, Deborah Courchene, Aria Evans, Eekwol Lindsay Knight, Jessica Lea Fleming, Falen Johnson, Émilie Monnet, Yvette Nolan, Michelle Olson, Natalie Sappier, jaye simpson, and Aqua Nibii Waawaaskone.
This digital experience, launching on World Theatre Day (March 27th), will feature twelve 5-10 minute pieces directed by Cole Alvis, Jessica Carmichael and Katie German and starring Cole Alvis, Reneltta Arluk, Tara Beagan, Samantha Brown, Eekwol Lindsay Knight, Monique Mojica, Joelle Peters, Tara Sky, and Michaela Washburn, with Sound Design and Composition by Olivia Shortt and Cosette Pin, and Multimedia Interpretations by Kaylyn and Kassiday Bernard of Patuo’kn.
All performances are free to access, though we encourage donations to the Native Women’s Association of Canada – an aggregate of Indigenous women’s organizations across Canada, advocating for Indigenous women, girls and gender diverse people and It Starts with Us – a community initiative that was founded to honour and document the lives of missing and murdered Indigenous women, girls, Trans, and Two-Spirited people.
Native Women’s Association of Canada (NWAC) reports, “The number of missing and murdered Aboriginal women and girls in Canada is disproportionately high. NWAC’s research indicates that, between 2000 and 2008, Aboriginal women and girls represented approximately 10% of all female homicides in Canada. However, Aboriginal women make up only 3% of the female population.”
Playwright, director, dramaturg, former Artistic Director of Native Earth, and creator of the piece Caribou Fence for Embodying Power and Place Yvette Nolan shares, “When Donna-Michelle told me I was using Chapter 4, Colonization as Gendered Oppression, as a jumping-off point for Embodying, I had to sit and think a long time. We all know the cost of colonization, but to have to drill down, to recognize that colonization was even more oppressive for women…I wondered how to deal with the knowledge without performing our trauma. How could I make this chapter into a way of healing? In the end, it is the art – the dance, the song – the resilience of women…We make sense of the world through art, through theatre. We keep our stories and our teachings there. Embodying does all of that.”
SHOW DETAILS:Available through the Embodying Power and Place site: embodyingpowerandplace.com
Sunday, March 28-April 4, 2021.
The link for Deer Woman via Azimuth Theatre’s Expanse Festival is this:
DEER WOMAN
By Tara Beagan.
Part of the Azimuth Theatre’s Expanse Festival.
an ARTICLE 11 and Downstage production
On-Demand on FringeTV from March 25 – April 4
“My name is Lila and I am a proud Blackfoot woman. What I am doing is illegal.”
So begins Deer Woman, a solo-warrior-woman story of righteous vengeance created by ARTICLE 11. Written by Tara Beagan, directed and designed by Andy Moro, sound design collaboration with Luca Caruso-Moro, with original songs by Lacey Hill, performed by actor and activist Cherish Violet Blood.
Deer Woman tells the story of a young, missing and murdered girl in a country where over 1,600 Indigenous women and girls are officially recognised as being missing or murdered.
Lila, one missing girl’s big sister, refuses to stand idly by. She is the daughter of a hunter who taught her all he knew. She’s ex-army, too. When circumstances converge, Lila finds the perfect opportunity to avenge her baby sister’s murder while exercising the skills taught by the Canadian government.
Because of some violent scenes this filmed drama is restricted to people 16+.
Deer Woman is a stunning play. Hard-hitting, sobering, funny and unforgettable. Her is my review:
Review: Deer Woman
The link for Deer Woman via Azimuth Theatre’s Expanse Festival is this:
Sunday, March 28 onwards, 2021.
From A Distance
From the Chekhov Collective. A charming improvised filmed drama of how a couple copes with COVID-19. Improvised and performed by Stewart Arnott and Susan Coyne.
http://www.thechekhovcollective.com
Sunday, March 28, 2021
Vanya and Sonia and Masha and Spike
Free from Lincoln Center Theater.
| Full-length streams of acclaimed LCT productions FREE! PRIVATE REELS: FROM THE LCT ARCHIVE LEARN MORE » |
| YOUR REGISTRATION IS ACTIVATED! WATCH IT NOW! VANYA AND SONIA AND MASHA AND SPIKE This Tony® Award-winning Best Play (2013) takes 3 mismatched siblings (played to the hilt by Kristine Nielsen, David Hyde Pierce and Sigourney Weaver), adds 1 boy toy (Billy Magnussen), throws in themes from Chekhov, pours it all into a blender and mixes it up. The result? An utterly hilarious, touching work by a master of comedy. FREE streaming available now through April 11 only on Broadway on Demand! WATCH NOW » |
| How to Watch PRIVATE REELS: VANYA AND SONIA AND MASHA AND SPIKE will stream for FREE on Broadway on Demand through April 11 at midnight. 1. Click the Watch Now button to go to the show on Broadway on Demand. 2. If you don’t already have a free Broadway on Demand account, you will need to create one. 3. Be sure to use the promo code VANYAFREE on the payment page. That will make it free to view! If you have further questions, view our FAQ here or contact info@broadwayondemand.com. WATCH NOW » |
Monday, March 29, 2021- 6:00 pm
Trouble in Mind by Alice Childress
Streaming
American Conservatory Theatre has announced casting for its upcoming filmed reading of Alice Childress‘s Trouble in Mind, directed by Awoye Timpo and streaming on demand March 29-April 4. The company will be led by Patrice Johnson Chevannes, alongside David Harbour as Al Manners, Lauren Spencer as Millie Davis, Anthony Fusco as Bill O’Wray, Kadeem Ali Harris as John Nevins, Dakin Matthews as Henry, Steven Anthony Jones as Sheldon Forrester, Eliza Kaye as Judy Sears, and Johnny Rice as Eddie Fenton. Childress’s masterpiece would have been the first play by a Black woman produced on Broadway if she had agreed to the producers’ demands that she soften its message. For tickets and more information, click here.