Theatre Passe Muraille

This collective history of the groundbreaking Toronto theatre is a scrapbook of memories, mistakes, and milestones.

'This is a record of our version of grassroots theatre. The idea was to take a group of actors out to a farming community and build a play of what we could see and learn. There is no story or "plot" as such ... Nevertheless, we hope that you can see many stories woven into the themes of this play and that out of it will emerge a picture of a complex and living community.' - Paul Thompson

Born into a magical Cree world in snowy northern Manitoba, Champion and Ooneemeetoo Okimasis are all too soon torn from their family and thrust into the hostile world of a Catholic residential school. Their language is forbidden, their names are changed to Jeremiah and Gabriel, and both boys are abused by priests. As young men, estranged from their own people and alienated from the culture imposed upon them, the Okimasis brothers fight to survive. Wherever they go, the Fur Queen--a wily, shape-shifting trickster--watches over them with a protective eye. For Jeremiah and Gabriel are destined to be artists. Through music and dance they soar.

In every major city, there exists a complex exchange between urban space and the institution of the theatre. City Stages is an interdisciplinary and materialist analysis of this relationship as it has existed in Toronto since 1967. Locating theatre companies ? their sites and practices ? in Toronto?s urban environment, Michael McKinnie focuses on the ways in which the theatre has adapted to changes in civic ideology, environment, and economy. Over the past four decades, theatre in Toronto has been increasingly implicated in the civic self-fashioning of the city and preoccupied with the consequences of the changing urban political economy. City Stages investigates a number of key questions that relate to this pattern. How has theatre been used to justify certain forms of urban development in Toronto? How have local real estate markets influenced the ways in which theatre companies acquire and use performance space? How does the analysis of theatre as an urban phenomenon complicate Canadian theatre historiography? McKinnie uses the St. Lawrence Centre for the Arts and the Toronto Centre for the Performing Arts as case studies and considers theatrical companies such as Theatre Passe Muraille, Toronto Workshop Productions, Buddies in Bad Times, and Necessary Angel in his analysis. City Stages combines primary archival research with the scholarly literature emerging from both the humanities and social sciences. The result is a comprehensive and empirical examination of the relationship between the theatrical arts and the urban spaces that house them.

bug is a solo performance and artistic ceremony that highlights the ongoing effects of colonialism and intergenerational trauma experienced by Indigenous women, as well as a testimony to the women's resilience and strength. The Girl traces her life from surviving the foster care system to her struggles with addictions. She fights, hoping to break the cycle in order to give her daughter a different life than the one she had. The Mother sits in Alcoholics Anonymous meetings, recounting memories of the daughter that was taken from her, and the struggles of living on the streets in Northern Ontario. They are both followed by Manidoons, a physical manifestation of the trauma and addictions that crawl across generations. bug reveals the hard truths that many Indigenous women face as they carve out a space to survive in contemporary Canada, while holding on to so much hope.

These two powerful plays by Ahmad Meree examine the effects of war and the refugee experience. Suitcase considers the lives of refugees and the spaces they inhabit. The play urges the audience to reassess the significance of their possessions, the relationships they value, and all of the things they have left behind. Adrenaline follows Jaber, a refugee getting ready to celebrate his first New Year's Eve in Canada after leaving his war-torn home in Syria. Using objects he has around the house, Jaber unpacks memories of war, and tries to understand the price he has had to pay for his safety in Canada.

Jiv is "Canadian." And "Indian." And "Hindu." And "West Indian." "Trinidadian," too. Or maybe he's just colonized. He's not the "white boy" he was teased as within his immigrant household. Especially since his Nova Scotian neighbours seemed to think he was Black. Except for the Black people--they were pretty sure he wasn't. He's not an Arab, and allegedly not a Muslim--at least that's what he started claiming after 9/11. Whatever he is, the public education system was able to offer him the chance to learn about his culture from a coffee table book on "Eastern Mythology." And then he had a religious epiphany while delivering a calf in Trinidad. By now, Jiv's collected a lot of observations about trying to find your place in your world. In this funny, fresh, and skeptical take on the identity play, Jivesh Parasram blends personal storytelling and ritual to offer the Hin-dos and Hin-don'ts within the intersections of all of his highly hyphenated cultures. This story asks the gut-punching questions: What divides us? Who is served by the constructs of cultural identity? And what are we willing to accept in the desire to belong? Then again--it doesn't really matter, because we are all Jiv.

Anna's daily routine is life, death, bureaucracy. Every call she receives is an emergency. How much trouble is our city in? Vitals is a solo show presenting the story of Anna, a Toronto paramedic. Based on real interviews conducted with local EMS workers, Vitals weaves together a canvas of affecting, poignant and disturbing emergency stories and explores their impact on the responder to these calls.