In a Word...Puelo Deir, creator of Holy Tranity! (FRINGE)

From Chemo to Camp - a Journey

[With this interview, The Charlebois Post is launching its 2013 coverage of Fringe productions across the country. If you are interested in being included in this new series of articles, let us know!]

CHARPO: First, tell us how Holy Tranity! came to be.

DEIR: This play was born out of my challenges with chemotherapy. There's nothing like health challenges, and good doses of chemo toxicity to put one in a reflective mood. 

I originally set out to write a piece in response to bullying in late 2010 when I applied to both the Toronto and Montreal Fringe Festivals. As luck would have it, the play got in the Toronto Fringe. The first deadline hit and I needed a title with 10 minutes to spare. The title Holy Tranity! was born. When I sat down to write, Gracie, the transgender queen of the night who runs a club and rules its stage in the play immediately made herself known. Through her, it quickly became apparent that this play was was going to be something quite different than I had originally intended. The play grew into a dirty love song to the gay '80's. 

Video of the Week, April 3, 2013

The lines between theatre and dance are getting more blurred and there is no more proof needed than this superb promotional video created by JD Dance and Tracey Norman for their upcoming episodes / andscapes. It is precisely because of productions like this that The Charlebois Post is considering covering dance as well as theatre and opera. Want to chime in on that? Just fill in the survey on the left-top of this page. Meanwhile, revel in this little miracle of movement, camerawork and soundscape. 

Review Squared, April 2, 2013

Writing Yourself In
by Valerie Cardinal
@vscardinal

Last week, I touched a little bit on the issue of the writer including themselves in their reviews. This week, I’m going to dive right in. As I’ve stated in some of my previous columns, including some of your personal experience in reviews can be an effective technique to discuss a production. However, I get the feeling that some writers get caught up in that discussion and lose the plot – often, quite literally. 

Both of these examples come from one of my favourite Toronto-based theatre blogs, Mooney on Theatre. Both Wayne Leung’s review of Ching Chong Chinaman and George Perry’s critique of Gwen Powers heavily rely on their personal experiences. However, I feel that Leung succeeds where Perry falls flat. 

After Dark, April 2, 2013

The Liberal High Horse

Is it too high for me?

by Gaëtan L. Charlebois
@gcharlebois

I am actually getting palpitations about broaching the subject of this piece, so let me start with a story.

Years ago, when I worked in the trenches of the arts weeklies, I wrote an op-ed. In it, I discussed the anti-Semitism that is regularly exposed to people who are not Jewish. I was concerned about this because I had recently come out and, like a miracle, my friends, associates and family had stopped making faggot jokes. But I knew, among them, there were still those who found Gays repulsive and who kept their jokes and opinions to be shared with the like-minded. So the question of private anti-Semitism resonated with me as people I frequented felt my coming out signaled they could safely move on to a different intolerance. (With my name it was not likely I was Jewish...)

The Question, April 1, 2013

Making the INvisible Visible
by Estelle Rosen

Christina Manolescu is the founder of Invisible Cities Network showcasing self-publishers, musicians and artists since 2001. Celebrating their 12th birthday April 1, 2013,  her reply to The Question incorporates a 12 year retrospective.

CHARPO: Invisible Cities Network provides an invaluable service to the Montreal arts community. What is its primary function, origin, goals? 

MANOLESCU: In spring, 2013, the Invisible Cities Network celebrates its 12th birthday. Quite a milestone! So what was its purpose? How and where did we begin?

Our ‘Indie’ Movement
The ‘big bang’ that sparked our existence occurred on April 1—April Fool’s Day—2001. We were a ‘gang of four’ enthusiasts who got together at the (now disappeared) Café ‘Porté Disparu’ on the Plateau. Our mission was a bit vague, but we did agree on one thing: to reach out to emerging and actual self-publishers in Montreal. Back then, we had no idea how much our nascent venture was destined to grow.

Lane's Week, April 1, 2013

A Week in The Nation's Theatre
by Chris Lane
@chrislanetweets

While there might not be much big news going on, it’s at least a fitting week to be writing about theatre, after groups around the world celebrated, and discussed, World Theatre Day on March 27.

Quebec’s Minister of Culture and Communications announced investments of $11 million to arts groups in Montreal, including substantial renovation and maintenance funds for Théâtre du Rideau Vert and the National Theatre School.

And while many arts advocates weren’t very positive about this year’s federal budget, announced March 21, there is a ray of hope: improved tax incentives and higher ceilings could encourage more donations to theatre groups.

Openings We're Tracking This Week, April 1-7, 2013