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All stories by Aisling Murphy on BroadwayStars

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Monday, April 13, 2020

A Mid-Pandemic Letter To The City Of Ottawa From A Young Theatre Critic (CC: GCTC’s Daisy) by Aisling Murphy

It’s been a strange few weeks. Despite the unprecedented scope of this cultural wound, I write to my city from a place of optimism – from an internal ache for community and togetherness.…

SOURCE: thetheatretimes.com at 08:38PM

Sunday, March 29, 2020

Review of Porte Parole’s “The Assembly – Montreal” by Aisling Murphy

No longer is there a “safe place” on the Canadian political spectrum; to be moderate is to be a mere bystander to fascism and anarchy, while to cling to either ideological extreme is to …

SOURCE: thetheatretimes.com at 11:57PM

Tuesday, March 24, 2020

undercurrents 2020: “Crippled”– A Necessary Intersect Between Grief and Hope by Aisling Murphy

undercurrents Festival Director Patrick Gauthier and Associate Director Brit Johnston have discussed openly their curatorial strategy for this year, one which stems from an urgent problem: m…

SOURCE: thetheatretimes.com at 11:31AM

Monday, February 24, 2020

On Guts and Astonishing Effect: Gctc’s “Kiinalik: These Sharp Tools” by Aisling Murphy

There’s a danger to hasty reaction. To act on instinct is to perhaps ignore a bigger contextual picture; a gut-reaction, after all, is only as informed as its bearer. Sometimes that ini…

SOURCE: thetheatretimes.com at 07:37PM

Tuesday, February 4, 2020

Cold Refreshing Identity: “Take d Milk, Nah?” A Bold and Necessary Success at the National Arts Centre by Aisling Murphy

The National Arts Centre’s website calls Jivesh Parasram’s Take d Milk, Nah? a “highly-hyphenated story about the search for identity.” This is certainly the case: Parasram’s bur…

SOURCE: thetheatretimes.com at 11:13PM

Monday, February 3, 2020

A Light in the Dark: “Unikkaaqtuat” a Joyful, Moderate Success at Ottawa’s National Arts Centre by Aisling Murphy

From the pre-show announcement, we know we won’t catch all that is said onstage during Unikkaaqtuat; in being honest, we won’t have to. In freeing ourselves from the tethers of language…

SOURCE: thetheatretimes.com at 10:05PM

Monday, January 27, 2020

The Case for “Hadestown” by Aisling Murphy

To escape the mundanity of our own everyday. To revel in the ephemerality of storytelling. To imagine, to empathize, to learn, to transmit. The reasons we still attend, enjoy, and review the…

SOURCE: thetheatretimes.com at 03:31AM

Tuesday, January 14, 2020

A Space Divided: GCTC’s “Cottagers and Indians” an Evocative Disavowal of White Privilege by Aisling Murphy

The split is clear upon first glance. He wears muddy jeans and rain boots, while she dons pristine khakis and purple Crocs. His space boasts shoots of wild rice, while hers stands testamen…

SOURCE: thetheatretimes.com at 01:38AM

Wednesday, November 6, 2019

“Old Stock:” A Refugee Love Story and Debate Between Empathy and Voyeurism by Aisling Murphy

Canada is built upon a core tenet of otherness; its populace is built largely upon the mosaicked lives of genocidal settlers, and refugees in search of better. Old Stock is presented by Hali…

SOURCE: thetheatretimes.com at 01:47AM

Tuesday, November 5, 2019

“Bun de Export:” A Personal Exploration of Romanian Migration by Aisling Murphy

That the hallway beside the theatre is filled to its breaking point is a good sign: artists, critics, adults, and teenagers alike revel in a common ground of theatre-going, of festivity, and…

SOURCE: thetheatretimes.com at 11:55PM

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