Brazilian actor and director Enrique Diaz performs in a critically acclaimed adaptation of Daniel MacIvor’s “Monster”. Alone on stage, Diaz transforms himself into a series of MacIvor’s characters whose lives seem eerily related. There’s the young boy who tells the story of the neighbour lad who hacked up his father in the basement. There are alcoholic Al and whiny Janine, the lovers who quarrel, make up, and decide to marry after seeing a movie about a lad who…well, same thing. There’s the ex-drunk who dreamed up the movie, but got no credit because he was said to have stolen the idea from a famous unfinished film, a claim that so angered him that he went back on the sauce. And there’s the movie maker who made that incomplete epic. Cine Monstro represents a rare opportunity to see Canadian theatre through a different lens.
Presented by Why Not Theatre in association with Progress. Made possible through the generous support of the Department of Canadian Heritage.
Additional support by Newton Moraes Dance Theatre.
Social media coordination by Christian Pedersen.
MONSTER was first produced by da da kamera at the Du Maurier World Stage in Toronto, 1998. MONSTER is staged by arrangement with Pam Winter, Gary Goddard Agency, www.garygoddardagency.com.
O ator e diretor brasileiro Enrique Diaz se apresenta em uma adaptação aclamada pela crítica da peça Monster, de Daniel MacIvor.
Cine Monstro é uma reinterpretação multimídia da inovadora obra canadense. Sozinho no palco, Enrique se transforma em uma série de personagens de MacIvor, entre eles um jovem garoto que conta a história do vizinho que cortou o pai em pedaços no porão, dois amantes briguentos e um cineasta que nuncacompletou seu filme épico. Todos os personagens estão conectados de forma sinistra nesta obscuramente fascinante e internacionalmente premiada produção de um dos mais queridos escritores canadenses.
Apresentação e curadoria de Why Not Theatre em associação com a Progress.
Suporte adicional de Newton Moraes Dance Theatre.
Coordenação de redes sociais de Christian Pedersen.
A peça Monster foi primeiramente produzida por da da kamera no Du Maurier World Stage em Toronto, em 1998. Monster foi montada através de acordo com Pam Winter, Gary Goddard Agency, garygoddardagency.com.
Whenever we travel around the world with our shows, we see that people from all cultures go to the theatre. So in a city as cosmopolitan as Toronto, why is our theatre audience so homogenous?
Language is a major barrier for many new Canadians to access our public arts institutions and it is part of the way we have been trying to address the question. Three years ago, we brought a renowned theatre company from India to perform a play, Ismat Apa Ke Naam, completely in Urdu/Hindi, to a sold out audience in Brampton on a Thursday evening. The experience and audience was unlike any we had ever seen in the city, with most of the attendees being first time theatregoers. We heard from many people that the experience was the first time they felt welcome to a theatre in Canada and they wanted more.
We brought the Indian company back again as we opened the Daniels Spectrum in Regent Park. Only this time we brought two shows, Ismat Apa Ke Naam and Dear Liar, an American play about the life and times of George Bernard Shaw. Both plays sold out entire weekends, with wait lists in the hundreds. With Dear Liar, performed in English, we wanted to create a bridge between the ‘new’ Canadian and the ‘old’. It was an incredible success and showed that an audience could “cross over” if the right bridges were built.
Cine Monstro is another type of bridge. It is a popular Canadian play, originally written in English, which is performed entirely in Portuguese by an internationally acclaimed artist from Brazil. It is a meeting place between the seasoned Canadian theatregoer ‘in the know,’ and the uninitiated.
This presentation offers a rare opportunity to experience a Canadian play through a different lens. Our hope is that the change of language and cultural perspective will invite an audience who would never have otherwise read or seen MacIvor’s work to experience it not in Portugal or Brazil, but rather here in Toronto.
We’ve consistently expanded our programming to include a new
Canadian audience, for whom mainstream Anglo and Francophone culture is largely intimidating and inaccessible. Our vision is to increase cross-cultural collaborations from more languages and cultures, and broaden the horizons of what constitutes Canadian stories and ask, “Who are they for?”
Often, cultural works that are specific to a community or language are seen as being outside the mainstream, and progress for us is about challenging that perception. Enrique’s work has been featured and critically acclaimed both in Brazil and in prestigious festivals and venues internationally, and we’re very lucky to have his team come to Canada.