- The conversation about “the natural lifespan” of the theatre companies, finding operating funding for new theatres, and “making way for new blood in Canada’s performing arts scene (without killing the old guard”) made its way onto the front page of the weekend Globe and Mail Arts section in a story by Kate Taylor
- Author Sheila Heti responded to a profile written about her in the Globe, challenging the notion that the “presumed engines of Canadian culture” (media, awards, etc.) are the ones shaping Canadian culture. “The real story about my book and its ‘success,’” she writes, “is how it was supported by people who relied on their own judgments, without external validation, who influenced its shape.”
- Writer Travis Bedard cited Austin, Texas an example of a “maker town”—communities ideally suited to be “proving grounds”, “sandboxes”, “laboratories” able to take the risks that “industrial theatre cities” cannot. In the weekly HowlRound Twitter chat, one person suggested Hamilton as an Ontario model for a maker town; I think Windsor seems like an ideal “research and development” centre for theatre in Ontario, and we’ve already seen Pat The Dog in Waterloo begin an innovative exploration of the relationship of tech and theatre. Is your community better described as a “maker town” than a “theatre town”?
- Congratulations to all of the winners of the 2012 Prix Rideau Awards winners for Ottawa professional theatre
- Julie Fox received the $15,000 Virginia and Myrtle Cooper Award in Costume Design. The award is given annually to professional Canadian costume designers in Ontario in mid-career to further enrich their careers through research and travel.
- Claire Sakaki, Producer and Director of Education at Soulpepper Theatre, received the $10,000 John Hobday Award in Arts Management from the Canada Council. It is awarded annually to established and mid-career arts managers for professional development or mentorship.
Assembled by Brandon Moore, Communications Coordinator