“This is soap,” says Andrew Tay while holding a dildo during his performance. It was the first in a triple bill that saw objects, and our relationships to them, take centre stage.
French choreographer Christian Rizzo has hybridized dances from across cultures to forge a vernacular that is at once singular, universal, and thoroughly contemporary.
At this year’s OFFTA, Montreal-based artists Gabriel Plante and Benjamin Kamino offered two sharply contrasting and incisive explorations of performative space.
Lost in the heaps of Fringe potential? Theatre critic Byron Toben has covered all 23 Montreal Fringes. He offers his picks of what not to miss at this year’s fest.
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Nancy Lee’s The Age tells of a Vancouver teenager dealing with post-nuclear disaster, the Cold War and adolescence, with a little help from some weed and beer.
Fabien Maltais-Bayda chats with New York choreographer Trajal Harrell ahead of his daringly imaginative work Antigone Sr., presented at this year’s Festival TransAmériques.
The MAC’s hosting of EM15 signals the Montreal establishment’s embrace of the digital fringes. Have Elektra and MUTEK become “high” culture?
I was keen to see the really big bang of a Supernova hinted at in the title. All I got was a balloon pop and a woman almost falling from a ladder.
Donna Tartt’s Pulitzer Prize-winning The Goldfinch transcends genre, offering redemption for the characters and a profound meditation on the spiritual quality of art.
Rover Fiction: A short story set in 1920s Paris about a painter and a mysterious seductress, inspired by the prose of Anaïs Nin.
EM15′s Connecting Cities Symposium targets the intersection between urban creation and civic engagement, and aims to imagine a more human city for the 21st century.
Daniel Léveillé has thrown lycra onto his dancers, yet in its sparseness, the choreography is more exposing than nudity could ever be.
Glamour, grit, and the 1995 referendum are the backdrop to Heather O’Neill’s tale of a Québécois celebrity’s twins. Can O’Neill surpass her last international hit?
When theatre holds a mirror up to life, it can be a nasty picture. Case in point, Le Noshow, a collective work of théâtre-réalité that opened this year’s Festival Transamériques (FTA).