Firehall Arts Centre's just-announced 2015-16 season puts spotlight on female playwrights

    1 of 1 2 of 1

      Canadian female playwrights take centre stage in the just-announced Firehall Arts Centre 2015-16 season.

      Amid the plays and contemporary dance on next season's roster are six theatre works by women--half of the plays it is presenting.

      And four of those works are premieres by Canadian playwrights, including Meghan Gardiner, whose new musical Love Bomb opens the season in a show by Shameless Hussy Productions; Julie McIsaac’s modern maritime fable The Out Vigil, by 20 Something Theatre Company; Tricia Cooper’s comedy Social Studies, in a Firehall production about a South Sudanese boy adopted by a middle-class Winnipeg family; and Jordan Hall’s romantic comedy How to Survive an Apocalypse, by Touchstone Theatre with the Playwrights Theatre Centre and the Firehall. Other shows include Hannah Moscovitch’s Little One (by Alley Theatre) and the return of Tracey Power’s hit Chelsea Hotel.

      Other season highlights are The Other Guys Theatre Company’s solo show about Pete Seeger, The Incompleat Folksinger; Cliff Cardinal’s biting and humorous Huff; George F. Walker’s dark comedy about an Afghanistan veteran, Dead Metaphor; the return of TJ Dawe's Postsecret: The Show; and a rendition of the Broadway comedy mashup The Motherfucker with the Hat.

      There are three dance works from around Canada on the programming: Vancouverite Serge Bennathan’s Just Words, a series of solos by Montreal iconoclast Daniel Léveillé, and a brand new work about bodybuilding and fitness by local sensation Shay Kuebler called Feasting on Famine

      Discount early bird passes are now on sale at firehallartscentre.ca or by calling 604-689-0926 (discount pricing ends July 31, 2015. 

      Comments

      1 Comments

      Matty White

      Jun 2, 2015 at 8:42am

      This isn't a spotlight on women, this is a season with an equal number of works by men and women. It is exciting that half the work in this season is by women, but claiming that equality is a "spotlight" only painfully highlights how biased theatre continues to be.