At Shakespeare in the Ruff, we have always offered training opportunities for professional artists. That has taken the form of Shakespearean Masterclasses with top classical actors, audition workshops, and more recently as our Reimagining the Canon workshop for creators interested in adaptation. But we also wanted to offer something to you, our Ruff audiences and supporters, who may have a passion for theatre, language, and Shakespeare, but don’t practice it professionally.
A Ruff Reads Special Event on the 25th Anniversary of the premiere of Harlem Duet
Supported by Toronto Fringe.
There have been many theatrical adaptations, reinterpretations, and explorations of Othello over the years, including this legendary Canadian play which premiered 25 years ago.
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What are the stories you wish to write? What myths in the world do you hope to tackle, or challenge, or celebrate? What is the story inside of you, as a performer, deviser, designer, whatever path you tread, that you want to share? How do we collide the diversity of truths in our world into compelling, intimate, powerful theatre?
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Hello! We are overjoyed to welcome both Michael Wamara and Sadie Epstein-Fine to
Shakespeare in the Ruff’s team, as the newly appointed Education Coordinators.
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We invite you to read along with us for the next few months and participate in an ongoing conversation about the themes and history of Shakespeare’s Othello, what it means to adapt or reimagine that story today, and some context for our summer production of OtÎhêw.
For our inaugural season as collective leadership, we are introducing a new seasonal offering that will take place each year in these late winter months. This event will act as the official launch of our new season and will kick start a series of events which each interrogate the themes we are focusing on for the year.
Our vision for Shakespeare in the Ruff begins with our collective leadership model: five artists from different intersections bringing different perspectives to Shakespeare’s plays, and the great big question of why we (and so many others) keep doing them.
“I started rehearsing Prince Hamlet when my daughter was 7 weeks old” has become something of a badge of honour for me. Pregnant artists ask me about it. New parents marvel at it. I look back at it from where I am now and it seems impossible. But that’s because now things are way harder.
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