We are pleased to announce GCTC’s recommended artists for the OAC Recommender Grants for Theatre Creators. This program provides funding to theatre creators, as recommended by GCTC and our peers in the professional theatre community.
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Today we want to introduce you to our incredible Education Coordinator, Alyssa English! Alyssa (she/her) moved to Ottawa in 2018, and joined the team at GCTC in 2021.
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Welcome to our new series: Meet the Staff of GCTC. We had some new faces join the team in 2021, and we were also lucky to have many familiar faces return.
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Blissful State of Surrender by Sanita Fejzić (A Blissful State Production) and Heartlines by Sarah Waisvisz (A Calalou/RAFT Theatre Projects Production), both presented by TACTICS in their 2022 Mainstage Series in association with the Great Canadian Theatre Company, are start-to-finish Ottawa creations which connect the local to the global and the past to the present in order to tell timeless human stories of struggle, resistance, and the complexities of love.
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Great Canadian Theatre Company (GCTC) and its Board of Directors are excited to announce that Sarah Kitz will take on the role of Interim Artistic Director. Sarah succeeds Eric Coates, who announced he was leaving the company in May after nine years as Artistic Director.
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In March 2020, Great Canadian Theatre Company (GCTC) opened the Canadian premiere of Sean Devine’s Daisy, only to close it the very next day due to the pandemic. This December, the play will triumphantly return to the stage as the first show of GCTC’s much anticipated 2021-22 season, and marks the theatre’s return to in-person theatre after a 20-month hiatus. It’s the first of five plays in GCTC’s 2021-22 season, which will run from December 2021 to June 2022. Find all the details below.
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During the last year, in this suspended state of trying to be calm and brave, I have also paid attention to the signs, external and internal. Among the cacophony of global signals—the earth is burning, fascism is back, I should have bought Zoom stocks—but one sign of personal significance has drowned out all others: it’s time for me to make this position available to someone else.
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I live my life with intense curiosity. Curious about the people I interact with, the city I live in, the culture I'm engaging with, the job I'm doing... everything.
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Several seasons ago, I dispensed with holiday programming in December. I am loath to inadvertently elevate one faith above another and I am acutely aware of the pressure that many people feel throughout this month. The pressure to consume, to celebrate, and to confirm the joy of others can be an overwhelming task for those who are susceptible to the void.
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Since March, theatre communities have been fragmented. Instead of connecting over drinks while waiting for shows to start, theatre lovers bump into each other in online waiting rooms. They chit chat in the comments on Facebook streams and reminisce over year-old photos of packed auditoriums.
For artists like Kel MacDonald, it’s just not the same.
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We have asked for, and graciously received, your patience as we tried to find a solution that would allow GCTC to deliver live theatre, according to the standard of excellence prescribed by our mandate. You have responded with messages of support and encouragement, which have given our staff the boost in morale that has allowed us all to keep focused on the task at hand.
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Stage 3 is upon us, and although we didn’t expect it to be the panacea that we are all hoping for, it is difficult to accept that the performing arts will still not be truly accessible for many months.
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Greetings from the home office…
Thank you to all who continue to support GCTC during difficult times. I write today with an increasingly familiar feeling that we are all on a tightrope together, adapting to its sway and stretch, as triggered by the weather. One moment, I am almost resigned to losing balance and tumbling into the chasm, but a few seconds later, my footing improves and I experience a surge of hope—hope that we can use our resources to make a meaningful impact, regardless of the storm that continues to howl.
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We stand in solidarity with Black colleagues, friends, neighbours, donors, artists, stakeholders, storeowners, doctors, lawyers, politicians, firefighters, carpenters, dentists, restaurateurs…all Black citizens who are fighting to live with the freedoms and opportunities promised by a democratic society.
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One of our great joys each year is contributing to the annual CCLA-GCTC Lawyer Play fundraiser. Not only does it provide important support for the GCTC and a local Ottawa charity partner, but it also represents a cherished collegial event for Ottawa’s legal community.
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In my first professional gig, I was fortunate to work at the Stratford Festival in the extraordinary company assembled by artistic director John Neville during his tenure, 1986-89. As a young actor, I enjoyed the windfall of being on stage with some of the most accomplished actors of the generation. Many of them—Goldie Semple, Susan Wright, Nicholas Pennell, Peter Donaldson, Richard March—left us far too soon, but they each made an impact on me that has endured. Goldie’s generosity, Susan’s ferocity, Nicky’s precision, Peter’s wisdom, and Richard’s wit are all part of an aspirational roadmap that would serve any traveler.
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We thank you for your patience and understanding in this challenging time as we work with you to ensure the health of our community. On behalf of all the artists, staff, and volunteers who contribute to GCTC, we send this message of goodwill and strength to our friends, patrons, donors, sponsors…to everyone.
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A multi Dora Award-winning collaboration between Buddies in Bad Times artistic director Evalyn Parry and Inuk artist Laakkuluk Williamson Bathory, Kiinalik: These Sharp Tools is the story of two cultures coming together.
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It’s hard for me to fathom, but the 20th Lawyer Play will take to the boards in June.
How did this phenomenon begin?
November 18, 1999. A cold night in Ottawa
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