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A man with Cerebral Palsy flies to a foreign country to be part of an inclusion conference. There’s a joke there somewhere, and it...

It’s that time of year when Indigenous performers become extremely popular for a day or two. True, “National Aboriginal Day” has become an entire...

Freedom of Speech Online I decided to dress up for Halloween this year.   Like the majority of people who leave their costume making to the...

Online freedom of speech has become a hotbed issue in the digital, interactive era. What is harassment? How does that impact our Charter rights...

Saturday November 19th from 2:30-4pm join us at the Isabel Bader Studio Theatre In the spirit of asking “who cares about theatre and live performance?”...

https://soundcloud.com/spiderweb-show/rhiannon-collett-thought-11-institution-vs-diy Good morning, Rhiannon here with my eleventh thought. Little known fact about me, I am such a rebel. No, uh - I guess this morning...

Politics is the knife. Passion is the force to wield it. What each of us must decide is where to cut.

Founded [in 1975], GCTC was dedicated to producing Canadian and political plays. “Canadian" meant written by Canadians; and “political” meant, to us, political parties, history, social issues. It was pretty broad, but not borderless; “the personal is political” and “everything is political” were not GCTC slogans.

The marginalized communities that used to call downtown home are becoming even more marginalized as the affordable spaces to live are pushed towards the edges of the city. The spaces that we are occupying as artists are still in a downtown core that is becoming increasingly unaffordable and alienating – with a high-end culture made for a certain income bracket.

Frank: There’s your authentic body, and the imaginary body they put on you. In the able bodied realm of performing, that imaginary body gets put on them a lot. What happens if you’re disabled, or paralyzed, and the imaginary body they want to put on you just isn’t going to happen?