Teenagers from This Year’s Paprika Festival on What They Want to See More of on Toronto Stages
The Paprika Festival is a performing arts festival that highlights the work of young and emerging artists, on from May 14 – 20 at Native Earth Performing Arts’ Aki Studio. We spoke with six of the teens involved in this year’s festival to hear what they want to see more of on Toronto Stages.
Rofiat Olusanya
Playwright-in-Residence
I think it is time playwrights and theatre-makers in general stop putting a modern spin on plays from history that are perfect the way they are. If I go to see Shakespeare, I want to hear the old English on the stage, not the modern way we talk.
Olivia Cameron
Creators’ Unit
The opinions of Canada’s youth need to be represented more, seeing that we are the future. Throughout high school, I felt that in certain classes our opinions were immediately invalidated by our teacher, and that we were not given the opportunity to debate issues we had questions about. Being told “that’s the way it is” is not a good enough answer. We youth see our world and realize it is not perfect, and we can help improve it. We just need someone to listen. Theatre is the perfect platform for this.
Janis Chang
Playwright-in-Residence
I’d love to see more theatre that offers up that intangible sense of wonder. To me there is something extraordinarily compelling about watching performances that transport the audience to a different reality—with magic, fantasy, the beautiful and the bizarre—while covertly asking tough questions and demanding hard truths.
I also still want to see more faces and voices like my own in Toronto performance. It is so inspiring to see creators such as David Yee, Nina Lee Aquino, Ins Choi, Marjorie Chan, and many others producing work in this city, and showing developing artists such as myself that there is a place for Asian faces and Asian stories in Canadian theatre.
Cole Stevens-Goulais
Paprika Productions
I would love to see more exploration of Indigenous sexuality in both traditional and contemporary contexts.
Tiffiney-Alexis Simon
Creators’ Unit
Teenagers. I just want to see more people of my age range not relying on social media platforms and controversy. Platforms like Instagram and YouTube are offering more opportunities for teens to openly express themselves. But they can also make it seem like you need a big social media following to accomplish anything. It’s easier for someone to become a model on Instagram than to accomplish something that takes actual talent and hard work. The impact social media standards have on teens is to make them think that they should follow trends rather than stay true to themselves and show their talents for what they are, and I don’t like that!
Jesse Hugh Wabegijig
Indigenous Arts Program
I want to see more art that is grounded in cultural traditions and history, specifically art that has something to say beyond the contemporary colonial viewpoint. I have found that people need to start tracing their heritage to a time when they were Indigenous. The saddest thing to see is a colonialist who doesn’t know how colonized they have been.
iPhoto caption: Writer and theatre artist Sophie Rivers in Yellowknife, N.W.T.
What can Toronto theatre learn from Yellowknife?
Growing up in Toronto, the Northwest Territories were always a distant idea, a place I knew only from colouring in elementary school maps. But over the summer, I came to see Yellowknife in a different light.
Cake, commuting, and conversation: Here’s what Canadian audiences value when they go to the theatre
This past spring, we invited a group of scholars, artists, and students to gather at the University of Toronto Mississauga to figure out what Canadian audiences want and need from their hosts.
George Bernard Shaw, Dungeons & Dragons, and me
I love George Bernard Shaw. This is my 11th season as an actor at his namesake festival. I think so much of what Shaw wrote could have been written yesterday. But some people aren’t interested in hearing what Shaw has to say to them 74 years after his death.
iPhoto caption: Kailin Brown in the Broadway National Tour of Chicago. Photo by Jeremy Daniel.
I’m not a woman, I just play one
“As a performer, my job is to play a character, and if that character is right for me it doesn’t matter what gender they are,” writes non-binary actor Kailin Brown. “What matters is that I can make a difference in someone’s life who can relate to the character, or to me as the actor.”
iPhoto caption: Photo by Robert Motum
Why would anyone do a PhD in theatre?
In an industry where stagnant government funding and tuition freezes have contributed to increasingly rigorous competition for fewer full-time positions, I’ve found myself reflecting: why do a PhD in theatre today?
Will female stories ever have a place in Canadian theatre?
A season of less than 50 per cent female playwrights, directors, and actors means the female-identifying population is not being fully represented. Programming becomes a question of this play or that play, as opposed to this and that, resulting in some narratives receiving short shrift.
Comments