{"id":30,"date":"2021-11-18T00:00:02","date_gmt":"2021-11-18T00:00:02","guid":{"rendered":"https:\/\/project.journalism.torontomu.ca\/owenkroppsblog\/?p=30"},"modified":"2021-12-05T19:29:47","modified_gmt":"2021-12-05T19:29:47","slug":"there-is-live-theatre-in-toronto-again","status":"publish","type":"post","link":"https:\/\/project.journalism.torontomu.ca\/owenkroppsblog\/2021\/11\/18\/there-is-live-theatre-in-toronto-again\/","title":{"rendered":"There is Live Theatre in Toronto Again!"},"content":{"rendered":"\n

Coming out of the pandemic however, it looks a little different.
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The Alumnae Theatre Company in Toronto is performing an integrated virtual\/live version of Michel Tremblay\u2019s \u2018Albertine in 5 times\u2019 <\/em>throughout this November.<\/p>\n\n\n\n

\u2018Albertine in 5 times\u2019<\/em> marks the Alumnae Theatre Company\u2019s first show of any kind since the pandemic began. It is described on the website as \u201ca five-sided portrait of a fractured woman as versions of herself at ages: 30, 40, 50, 60 and 70.\u201d<\/p>\n\n\n\n

The cast for this production is made up of six actors total, with four being projected into the theatre and two performing in the theatre live. The \u2018virtual\u2019 actors perform from home and have their upper halves projected onto screens spaced evenly around the stage.<\/p>\n\n\n\n

\"A
‘Albertine in 5 times’ was originally selected to be played live. When this was no longer a possibility, Director Cassidy Sadler was the one to pitch doing the show in the virtual\/live format. (Owen Kropp\/J-SCHOOL)<\/figcaption><\/figure><\/div>\n\n\n\n

Tickets can be purchased on their website <\/a>and are on sale until November 20th. Each ticket provides access to a link to the show.<\/p>\n\n\n\n

This is Alumnae\u2019s first venture into the integrated virtual\/live production format and it is presented as an \u201cOn-demand digital production\u201d according to their website.<\/p>\n\n\n\n

As reported by those involved, the production came with new and unique challenges. <\/p>\n\n\n\n

\u201cIt was an excellent exercise in problem-solving and adaptability,\u201d said Director Cassidy Sadler through an email interview. \u201cAs we built the show, cast and crew alike were able to develop new technical skills and knowledge.\u201d<\/p>\n\n\n\n

While many who enjoy theatre will still look forward to attending productions in person, this new format is being welcomed by the theatrical community.<\/p>\n\n\n\n

Sam Mooney has been reviewing theatre in Toronto as a senior writer at Mooney on Theatre<\/a> for over 13 years. She believes that this new medium is here to stay. <\/p>\n\n\n\n

\u201cThere\u2019s a place for virtual theatre,\u201d said Mooney in an interview over the phone.<\/p>\n\n\n\n

 In her opinion, the most crucial aspect when presenting virtually is how the camera is integrated. <\/p>\n\n\n\n

\u201cThe camera has to be a part of the cast,\u201d she said.<\/p>\n\n\n\n

\"The
Both Sadler and Mooney look forward to seeing how this format will continue to evolve as well as what it will mean for the industry as a whole. Through this new format, theatre is becoming more accessible than ever before. (Owen Kropp\/J-SCHOOL)<\/figcaption><\/figure><\/div>\n\n\n\n

In an article for Impakter<\/a>, Kate Werrington writes that virtual theatre isn\u2019t a temporary fix to a short problem but simply the evolution of theatre itself. <\/p>\n\n\n\n

\u201cIt is a necessary component to keeping theatre alive and accessible to all artists and audiences.\u201d<\/p>\n\n\n\n