Relaxed Performances have been established to welcome people who will benefit from a more relaxed performance environment, including people with Autism Spectrum Disorder (ASD), but are suited to all young theatregoers. There are two upcoming Relaxed Performances of YPT’s Munschtime! (for ages 4 to 8) on May 11 and 14. Our Interim Artistic Associate, Education, Lois Adamson, explains this initiative and why relaxed performances have become a staple of YPT’s programming, here.
Our Community Volunteer Manager, Norah O’Donnell, sat down with our newest co-op student, Olivia, to ask her a few questions.
Our volunteer, Jessica, worked with YPT over several months, observing the production of James and the Giant Peach go from page to stage. An avid theatre-lover and actor herself, Jessica was particularly interested in the actors and spent time with Amy Lee (who played Sponge) over the course of her placement to look at what it means to become and work as a professional actor in Toronto. Here’s a snippet of an interview Jessica conducted in which Amy talks about her professional theatre journey.
An Interview with YPT Artistic Director Allen MacInnis and Associate Artistic Director & Dramaturg, Stephen Colella on Creating Munschtime!
Why did you choose this project?
Allen: I’ve been a fan of Munsch’s work for a long time and I think that his stories make really engaging adaptations for the stage – quite inventive and playful. I love the story Love You Forever, although I recognize that it’s more of a story for adults than kids because the profound meaning of it is really absorbed by the adults.
By Dennis D. Gupa, PhD Student Applied Theatre | Department of Theatre University of Victoria & YPT Scholar in Residence
When the clouds become gray, the question grows intense.
I arrived here in Victoria in September of 2015 to commence my PhD in Applied Theatre and am now in my second year of study. I often ask myself, why do I study applied theatre and the Philippines in Canada? At the heart of this unresolved question, I continue to wrestle with the perennial experience of cultural translation while thinking of climate justice, indigenous ways of knowing and ethical artistic explorations. By reading the works of theatre scholars like James Thompson (performance affects), Peter O’Connor (public performed resistance), Jan Cohen-Cruz (engaged performance), and Jill Dolan (performance utopia) I sense an opportunity to contribute to the future of applied theatre, especially in sites of indigenous oppression. Continue reading