Latest

(Originally published for Stage Door) How can theatre be political today? I am aware that the question I pose is vast, even somewhat pretentious, yet it is the central issue that crossed my mind as I left Nzinga, now running at the Theatre Centre. The themes Tatiana Zinga Botao, co-

(Originally published for Stage Door) On the night of Copperbelt’s premiere, Natasha Mumba and Rick Roberts struggled to deliver the script’s final lines, repeatedly cut off by bursts of applause. The stalls were electric, vibrating with anticipation. As Mumba’s character, Eden, finally reclaimed agency over her own

(Originally published for Stage Door) There is a Latin proverb that reads mors tua, vita mea (literally, “your death, my life”). Such an approach to interpersonal relations sits far from the fraternal, love-thy-neighbour rhetoric to which we are accustomed. It follows a logic of utilitarianism and opportunism, precisely

(Originally published for Stage Door) The adverb always is a temporal paradox. It insists on duration while quietly undoing chronology, holding time in suspension. As director Andrea Donaldson observes, “in the sentient world, there is no always”: the closest approximation is continuous accumulation. Erin Shields’s You Always unfolds inside

Originally published for Stage Door. What does it mean to belong? And is it ever really possible to step away from one’s roots? These questions come into focus near the end of the first act of Mischief, when Brooke, played by Lisa Nasson, gets in her car and drives