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Dear Performance Lover,
It's been a fierce and fearless season here at World Stage where we presented nine groundbreaking international contemporary performances, welcoming artists and productions from England, France, Switzerland, Australia, Belgium, the United States and Canada.
We set the season in motion with the sold-out #artlive Ball. Our unique partnerships with the House of Nuance and the House of Monroe resulted in the largest ball in Canadian history. Seasoned ball veterans and virgins alike walked the runway, while Harbourfront Centre's new CEO and guest judge Marah Braye helped crown vogue royalty.
We're also really proud of the two world premieres we helped realize on our stages. vox:lumen by Zata Omm Dance Projects fused choreography with sustainable technology, illuminating a future where human movement generates electricity. Later in the season, This Is a Costume Drama by The Dietrich Group explored the way we dress up and wear masks – and what happens when we don't.
Toronto darling Suburban Beast’s sold-out remount, All Our Happy Days Are Stupid, Sheila Heti's "unstageable play," proved once again that homegrown talent has an important place on the world stage. This co-production with Harbourfront Centre went on to a wildly successful run in New York City at the iconic theatre The Kitchen.
For over 10 years, World Stage has partnered with Series 8:08 to offer master classes for professional actors and dancers in our community. This year our partnership yielded six workshops lead by international artists from the World Stage season: Stan's Cafe, Geoff Sobelle, Zata Omm/William Yong, Out Innerspace Dance Theatre, The Deitrich Group/Danielle Baskerville and Marrageku/Dalisa Pigram.
As always, we strove this season to connect artists and audiences, and this spirit of dialogue was especially evident in two of our productions. Prior to presenting Jérôme Bel & Theater HORA's Disabled Theater, we brought local performers with intellectual disabilities together to study with the inclusive company in a moving, urgent, creation-based workshop. And after two previous presentations at World Stage, acclaimed playwright and director Young Jean Lee pulled a Toronto hat trick with the Canadian premiere of the much-talked-about STRAIGHT WHITE MEN.
We would also like to extend a special congratulations to the Dora-nominated shows presented on our World Stage. Five out of seven eligible productions from this season were nominated for a total of eight awards that celebrate the achievements of Gudirr Gudirr, Me So You So Me, The Object Lesson, This Is a Costume Drama and vox:lumen. These nominations confirm Harbourfront Centre as one of Toronto's leading performing arts organizations and a continued home for national and international works at the forefront of contemporary performance.
We hope you've felt as engaged and empowered as we have this season. Like the identity we chose for this season, the bubble, we have found beauty in the fleeting, the fragile, and the (con)temporary. As the bubble inevitably pops, we thank you for meditating in this moment with us, in the suspended world of these artists, and in the world we all share.
We're looking forward to welcoming you to a whole new season of World Stage programming in January 2016. Until then, stay with us using @WorldStageTO and #artlive. As always, we appreciate your feedback. Share your highlights of the World Stage 2015 season with us at email@example.com.