2012 is off to a great start, theatrically. We’ve already had a chance to see 2011 undercurrents hit Bifurcate Me on its way to the Wildside theatre festival in Montréal (where people will also have the chance to see Micasa Theatre’s heartrending signature work Countries Shaped Like Stars).
There’s plenty to look forward to in the latter half of this theatre season; the NAC English Theatre’s all-aboriginal-cast King Lear
, David Whiteley’s translation of Cyrano de Bergerac
at the Gladstone (featuring the always-mesmerizing Richard Gélinas), and at the same time as the NAC French Theatre is presenting Bertolt Brecht’s Opéra de quat’sous
(The Threepenny Opera/die Dreigroschenoper), the Gladstone will be hosting Bremner Duthie’s ’33 (A Kabarett)
. I suspect these will pair well for the discerning palate.
I really wanted to see Maja Ardal’s You Fancy Yourself
as part of the Great Canadian Theatre Company’s 2011–2012 season, but unfortunately she’s had to cancel her run due to health concerns. I join with the GCTC in wishing her the best and a speedy recovery. There is a silver lining to this cloud: in its stead, the GCTC will be presenting Pierre Brault’s Blood on the Moon
. This internationally successful play about the assassination of Thomas Darcy McGee got its start as a show at the Ottawa Fringe Festival over ten years ago (as told in OFF the Record); I’m excited to finally have a chance to see it.
This year will also bring the 5th annual prix Rideau Awards
, which is a significant milestone. Nominations for the awards will be announced on February 27, and the gala event will take place in the spring. I predict (or at least hope) there will be increased general public attendance at this year’s event; although the awards are given by industry peers, the evening is a theatrical event in and of itself.
Speaking of Fringe
(and when am I not?), a lot of new and unfamiliar names won spots in the lottery this year, which means that we will see plenty of fresh and new shows. Not that there’s anything wrong with our favourite homegrown creative talent, but I think this highlights an overall trend: more and more, established local theatre companies are touring and exporting their work through touring and festivals, and new groups are forming in their wake. This is essential to the continued growth of our theatre community, and the establishment of a true theatre industry.
Internet site reference: http://www.apt613.ca/2012/01/11/2012-theatrically