
A musical from Tomson Highway, dancing skateboarders among NAC's upcoming lineup
A long-awaited musical from playwright Tomson Highway, a '90s take on 'Macbeth' and skateboarding stunts are among the spectacles bound for the National Arts Centre.
Canada's multidisciplinary home for the performing arts released a 2025-26 lineup Thursday that includes the return of holiday favourites including Handel's 'Messiah' by the NAC Orchestra and the Royal Winnipeg Ballet's 'Nutcracker' in December.
In between are dance, orchestral, pop music and drama productions from new voices and established veterans. Here's a look at some of the highlights.
THEATRE
Highway brings the third instalment of his 'Rez Cycle' to NAC's Indigenous Theatre program, with the world première of his musical 'Rose.' The 2003 play is set on the Wasaychigan Hill Reserve in 1992, and revisits several characters from 'The Rez Sisters' and 'Dry Lips Oughta Move to Kapuskasing.' The story here centres on Emily Dictionary and her biker pals 'as they fight to reclaim their community.' NAC says the musical has never been staged 'due to its scale and ambition.'
In the English Theatre lineup, artistic director Nina Lee Aquino directs two world premières: 'Copperbelt' by Natasha Mumba, a co-production with Soulpepper Theatre about the daughter of a powerful African family caught between ambition and the cost of success; and the eco-thriller 'cicadas,' created by David Yee and Chris Thornborrow and co-produced by Tarragon Theatre, in which a very strange house sinks into the earth.
The English Theatre lineup also includes Marie Farsi's stage adaptation of 'Fifteen Dogs,' André Alexis's Giller Prize-winning novel about a group of dogs suddenly granted human consciousness.
The French Theatre season closes with Shakespeare's 'Macbeth,' directed by Quebec visionary Robert Lepage. The original Stratford Festival production, created in collaboration with Lepage's company Ex Machina, set the action amid the biker wars of the 1990s.
ORCHESTRA
Music director Alexander Shelley's final season with the NAC Orchestra opens with Giacomo Puccini's opera 'Tosca' and boasts an all-Canadian edition of the Great Performers series, including Toronto's Tafelmusik Baroque Orchestra, Quebec City-based chamber orchestra Les Violons du Roy and recitals by Calgary-born pianist Jan Lisiecki and Grammy Award-winning violinist James Ehnes.
Soloists include violinists Hilary Hahn and Joshua Bell, cellist Bryan Cheng, and pianists Lang Lang, Jean-Yves Thibaudet and Hélène Grimaud.
DANCE
Danish choreographer Mette Ingvartsen unleashes what NAC describes as a 'zany' production dubbed 'Skatepark,' in which skateboarding thrill-seekers encounter a group of dancers.
Also, Guillaume Côté and Lepage present a dance version of 'Hamlet,' the Royal Winnipeg Ballet offers up a surreal 'Hansel & Gretel' and the National Ballet of Canada presents a new work, 'Procession,' from choreographers Bobbi Jene Smith and Or Schraiber.
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POPULAR MUSIC AND VARIETY
The Pops lineup will see singer-songwriter Martha Wainwright hit the stage Oct. 15, followed by Ariane Moffatt on Oct. 16 and Choir! Choir! Choir! on Nov. 23.
There's also a tribute to Aretha Franklin featuring Broadway star Capathia Jenkins and soul singer Ryan Shaw, Troupe Vertigo fuses acrobatics and symphonic music, and live concerts of film scores from 'The Muppet Christmas Carol' and 'Pirates of the Caribbean: The Curse of the Black Pearl.'
International artists include the Manchester-based instrumental trio Gogo Penguin on Oct. 17, the Soweto Gospel Choir on Nov. 29 and an onstage conversation and food demonstration with British chef, restaurateur and food writer Yotam Ottolenghi on March 1, 2026.
This report by The Canadian Press was first published May 15, 2025.
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CBC
19 hours ago
- CBC
Cree reimagining of Macbeth makes makes Treaty 1 territory debut in Brandon
A reimagining of Macbeth — set in a time before colonization and rooted in the Cree worldview, language and tradition — is set to be performed on Treaty 1 territory for the first time this weekend. Pawâkan, a production from Akpik Theatre — a professional theatre company founded in the Northwest Territories in 2008 that now tours across Canada — transforms Shakespeare's classic tale of ambition and betrayal into a celebration of Indigenous culture. Audiences in Manitoba will now get to see it for the first time, with performances on Sunday and Monday at the Western Manitoba Centennial Auditorium in Brandon. Playwright Reneltta Arluk says it centres Indigenous voices, showing the strength and complexity of Cree life before colonization. Part of that, she says, is using laughter as healing. "Indigenous people ... our laughter is such a huge part of who we are as people. There's a lot of humour in this play," Arluk said. While the story draws loosely from Macbeth, it has been completely rewritten to elevate Cree perspectives and language. The main character, Macikosisân, is consumed by a cannibal spirit known as "the one who walks alone" — whose name is only spoken when snow is on the ground — symbolizing greed and violence, Arluk said. The three witches of Shakespeare's play are reimagined as the wiyôyôwak, spiritual beings who challenge the characters to reflect on identity and spirituality. Pawâkan was born out of time spent with students and elders in the Cree community of Frog Lake First Nation, on Treaty 6 territory in northern Alberta, and during her residency across various reserves, Arluk said. Macbeth became a tool to talk about greed and the cannibal spirit, she said. Elders told stories of the spirit, while youth shared stories of the land. That blend inspired her to reshape the tragedy into Pawâkan, a story that explores how imbalance, isolation, and spiritual hunger affect communities. "This play is about balance. It's about when you go too far one way, and you isolate yourself and others," Arluk said. "We need each other as people. We need each other more than ever. And so that's what this play really does.... It really asks each other to be there for each other." Elevating Indigenous voices Pawâkan has toured Treaty 6 territory — including Edmonton, North Battleford, Sask., and Frog Lake — as well as parts of the Atlantic and Northwest Territories. There are actually two versions of the play — the touring 90-minute version, titled The Community Telling of Pawâkan, and a full-length version that hasn't yet been produced. Its Brandon performance is unique in another way — it's happening in summer near the summer solstice. Traditionally, director Barry Bilinsky says, stories like Pawâkan are told in the dead of winter. That means the shorter version also has two versions — one for winter, and one for summer. In the summer version, the name of the cannibal spirit is omitted. "We need the winter to balance out the summer, we need the light to balance the dark," he said. "It reminds us of what our ancestors went through, and what people right now are going through, and what it means to be truly starving." The play is also a chance to celebrate Cree culture, especially in communities that don't often see large theatre productions, Arluk said. When she graduated from theatre school, there were few opportunities for Indigenous actors, even with formal training, she said. "It was still really challenging to get into those theatres, because I was Indigenous, and those stories were not our stories," she said. She wants to change that. Making space for Indigenous artists is critical, she says, especially because Shakespeare is deeply embedded in Canadian education — even in isolated communities where Indigenous stories often are not. She's seen first-hand how students light up when they get to share Cree cosmology. "It's powerful … these stories of the land," she said. "I do truly believe that our stories are the most intrinsic and compelling stories." Bilinsky agrees, adding the production is also a statement about Indigenous presence on stage. "It's so vital for young people to see themselves up on stage and to understand that these languages aren't dead, that these stories aren't gone and that … we can be on those stages," he said. Every performance feels different, Bilinsky says. Some audiences are full of Cree speakers, laughing along with the jokes, while others are quiet and reverent. During some performances, he's heard pop cans cracked open mid-show or audiences rustling snacks — moments that remind him how diverse these communities are, Bilinsky said. One recent show included evacuees displaced by wildfires. He hopes Pawâkan offered a reprieve for them, and will offer others a reminder of Indigenous perseverance.


Winnipeg Free Press
14-06-2025
- Winnipeg Free Press
Local cast delivers bleak, brilliant Beckett classic
A recurring line that runs like a leitmotiv through Samuel Beckett's absurdist masterpiece Waiting for Godot is: 'What do we do now?' Well, in this case, not much of anything, other than ponder existential questions regarding happiness, love, loneliness and God, not to mention the frailties of the hopelessly mortal, fallible human condition itself. Shakespeare in the Ruins launched its second show of its summer season Friday night, with a rare local live production of Waiting for Godot, performed al fresco among the ruins at Trappist Monastery Provincial Heritage Park. CHRISTINE LESLIE PHOTO Vladimir (Arne MacPherson, left) and Estragon (Cory Wojcik) bicker and commiserate while waiting for Godot. The intimate 150-minute show (including intermission), ably directed by SIR artistic director Rodrigo Beilfuss, is performed in repertory with the company's ongoing mainstage show, Macbeth. Godot has puzzled and perplexed audiences ever since its 1953 première with its simple story about two seemingly homeless men waiting endlessly for the mysterious title character. Beckett's enigmatic narrative teems with non-sequiturs and mundane observations, in turn punctuated by snappy wordplay and the occasional, heartbreaking zinger that pierces the tragicomedy's lighter moments like a rapier. It's also not exactly a plot-driven drama, relying instead on strongly forged characters and their fleshed-out relationships as they form and then fall apart. Local thespians Arne MacPherson as Vladimir (Didi) and Cory Wojcik as his long-suffering pal Estragon (Gogo) prove a well-matched team, dressed in costume designer Anika Binding's ragtag suits and bowler hats, as they spar and bicker, bare their souls and ultimately cling to each other. Set/props designer Lovissa Wiens creates a barren landscape, including a deliciously industrial 'tree' wrapped in chicken wire and brambles, with cast-off shoes and junkyard garbage bags — even a broken TV set — strewn about the edges of the monastery, creating a desolate playground of decay. MacPherson — a founding member of SiR who dazzled as the title character during last year's production of Iago Speaks — compels as the duo's 'thinker,' although his matter-of-fact, often more rapid-fire vocal style, especially during his repeated references to Godot, invariably dilutes the absurdity of his portrayal. While it all boils down to personal taste, Godot — a mysterious, Oz-like figure — should be addressed with more solemnity and even reverence to create greater subtext, as well as a more pronounced schism between stark reality and dreamy imagination, the gap between what is and what can be in a world of bleakness. Despite this artistic choice, however, one of his final, blink-and-you-miss it lines, 'Tell (Godot) that you saw me, and that you saw me,' packs an existential punch of self-identity and validation; it's one of the play's most resonant themes — if not the very point of it all. For his part, Wojcik crafts a stumbling, carrot-loving tramp with the heart of a poet who gnaws on chicken bones and frets about such physical needs as sleep and comfortable boots. His razor-sharp timing and agile inflection help him toss off such salient lines as 'We are all born mad; some remain so,' as well as ruing 'Nothing to be done,' a key sentiment. Tom Keenan (King Duncan, witch and porter in Macbeth) crafts a powder-keg Pozzo, ready to blow, ferociously cracking his riding whip when he burst onto the stage with his battered, tethered slave, Lucky (Liam Dutiaume, marking his professional debut) midway through Act I. His compelling, volatile portrayal immediately pumps the show with larger-than-life theatricality, his declaration, 'I am Pozzo,' thundering across the ruins as he stands atop a large Tyndall stone block. CHRISTINE LESLIE PHOTO Cory Wojcik as the bootless Estragon A special bravo to Dutiaume for a brilliant, less-is-more rendering of his ironically named, white-wigged zombie, his sunken eyes transfixed as he dutifully obeys Pozzo's barked commands. The actor, also appearing as Malcolm and Witch in Macbeth, nails Lucky's big speech (following his shuffling dance), proving to Vladimir and Estragon his ability to 'think' by delivering a staccato word salad of nonsensical imagery, pithy bon mots and guttural utterances. Beilfuss's thoughtful blocking (which at times is overly static, as when Pozzo is seated on his stool for far too long) adds texture to his overall delivery, seeing Lucky climb onto the stone block to spew out words directly to the audience. Sundays Kevin Rollason's Sunday newsletter honouring and remembering lives well-lived in Manitoba. His pacing might have been quicker — a tall order, to be sure — to convey Lucky's rising desperation, although kudos are owed to the actor for fearlessly attacking Beckett's knotty text. The show highlights the first joint professional stage appearance by Wojcik and his actor son Mackenzie (Witch in Macbeth). The latter makes every moment count as the goat-herder 'Boy,' delivering messages from Godot, his spot-on conviction and guileless innocence proving the apple doesn't fall far from the tree. The play itself ends not with a bang, but a whimper. There is no resolution; Godot never arrives. While some pundits surmise that Beckett's play is about inertia, with a chaser of pre-supposed meaningless of life, Estragon's potent Act II question to Vladimir — 'Do you think God sees me?' — refutes the perennial argument that Godot is fundamentally a secular play. In the end, this cryptic conundrum will never be answered, and will continue, as it has for the last 73 years, to elicit a prism of interpretation by all those who see it. But that's probably just how its stable of all-too-human, flawed characters, as they grit their teeth and grapple with 'life,' would have liked it.


Cision Canada
11-06-2025
- Cision Canada
Media advisory - Governor General to present Governor General's Performing Arts Awards Français
OTTAWA, ON, June 11, 2025 /CNW/ - Her Excellency the Right Honourable Mary Simon, Governor General of Canada, will present the 2025 Governor General's Performing Arts Awards (GGPAA) to seven laureates during a ceremony at Rideau Hall, on Friday, June 13, 2025. She will then honour the laureates the following evening when she delivers remarks at the 2025 Governor General's Performing Arts Awards Show at the National Arts Centre (NAC), in Ottawa. Here are the 2025 laureates of Canada's highest distinction in the performing arts: Bob Ezrin, O.C. – Music and entertainment producer, music education advocate and serial activist (Lifetime Artistic Achievement Award – Popular Music) Denis Gougeon – Composer (Lifetime Artistic Achievement Award – Classical Music) Graham Greene, C.M. – Actor (Lifetime Artistic Achievement Award – Screens and Voices) Patrick Huard – Comedian, film and television actor, host, screenwriter and producer (Lifetime Artistic Achievement Award – Screens and Voices) Sandra Laronde, M.S.C., O.M.C. – Multidisciplinary artist, artistic director, choreographer, producer and author (Lifetime Artistic Achievement Award – Dance) April Hubbard – Performance artist, arts administrator, and Mad Disability advocate (Ramon John Hnatyshyn Award for Voluntarism in the Performing Arts) Jeremy Dutcher, M.S.M. – Composer, performer, language carrier, ethnomusicologist and activist (National Arts Centre Award Recipient) GGPAA Ceremony Date: Friday, June 13, 2025 Time: 6 p.m. Location: Rideau Hall Ballroom, 1 Sussex Dr., Ottawa GGPAA Show Date: Saturday, June 14, 2025 Time: 8 p.m. (red carpet begins at 7 p.m.) Location: NAC, 1 Elgin St., Ottawa About the Governor General's Performing Arts Awards Created in 1992, by the late Right Honourable Ramon John Hnatyshyn, then-Governor General, and his wife, Gerda, the awards are presented annually to Canadians whose extraordinary achievements have contributed significantly to the enrichment of Canada's cultural life. Learn more about the Governor General's Performing Arts Awards. Notes for Media: To guarantee your access to the Rideau Hall ceremony, we ask that you please confirm your attendance with the Rideau Hall Press Office at [email protected]. Media are asked to arrive at the Princess Anne Entrance no later than 5:45 p.m. on the day of the ceremony. Photos of the ceremony taken by the Governor General's official photographer will be made available upon request. Stay connected: Follow GovernorGeneralCanada on Facebook, Instagram, X and YouTube. SOURCE Governor General of Canada