She is currently a Professor of theatre studies at the University of Guelph, in the School of English and Theatre Studies. Ashley strangled herself with six c. The play is inspired by tragedies such as the death of Reteah Parsons, a Nova Scotia girl who was raped and then cyber bullied, and finally completed suicide. Instead of seeking a caregiver, she now undertakes to be one. In 2005, she was made an Officer of the , and in 2007 she was awarded the Walter Carsen Prize for Excellence in the Performing Arts by the Canada Council for the Arts. This character was to provide the core of Thompson's first play The Crackwalker 1980 , which focuses on Kingston's sub-proletariat class. One of Judith Thompson 's most enduring plays, Lion in the Streets looks at the inner turmoil of ordinary people and the ways in which they cope.
For Thompson, language is the play: in the slang and colloquial speech of the streets, in the illiterate stuttering of dysfunctional outcasts, in the uncensored rage of betrayed women or abusive men she hears emotional truth. There is so much emotional depth, so much pain but also redemption, which really makes you reflect on the horrors of our society. But even with a top-flight director and a Broadway-caliber cast, Lion is two hours that no one needs to sit through. She has won a and the. It is these scenes - those that are unsettling and extreme but also horribly real - that makes me think Thompson writes like no other playwright.
One woman battles bone cancer, a housewife confronts her unfaithful husband, a man obsessively recalls a homoerotic experience with a childhood friend, a woman with cerebral palsy longs for sexual fulfilment, and all the while, a little girl wanders the streets, looking for a lion. One of Judith Thompson's most enduring plays, Lion in the Streets looks at the inner emotional turmoil in ordinary people and the ways in which they cope. An enduring classic that looks at the inner emotional turmoil in ordinary people and the ways in which they cope. Lion in the Streets premier ed in 1990 at the Harbourfront Centre Theatre as part of the World Stage Theatre Festival in Toronto and won the Chalmers Outstanding New Play Award in 1991. Theatre Communications Group, Incorporated, 1997.
The empathy created between character and audience in such plays in turn produces a cathartic release of potentially disruptive emotions in an audience that leaves the theatre satisfied—calm of mind, all passion spent. Lion in the Streets Lion in the Streets By Judith Thompson Directed by Claire Fogal March 16-23, 2018 Laura C. The confusing, tedious, and pretentious script is further weakened by actors unable to differentiate the multiple roles each portrays, which director Neil Donahue does nothing to rectify. She is the recipient of several , including one in 1987 for I Am Yours, and in 1991 for Lion in the Streets. Her translation of Serge Boucher's Motel Hélène appeared at the Tarragon Theatre in 2001.
Will she finally get the peace she's been yearning for? Thompson was raised in and then. Donahue's direction, from the awkwardly staged fights to the constant fluctuation in tone from solemnity to screaming, is ineffective. She has received honorary doctorates from Thorneloe University and, in Nov. Now she finds herself back in her previous life as a ghost searching for the person responsible for her untimely death. A remount of Thompson's adaptation appeared at Buddies in Bad Times Theatre in 2005. About the Play: Finalist for the 1992 Governor General's Award for Drama Canadian equivalent of the Pulitzer Prize Lion in the Streets is a full-length drama by Judith Thompson.
Although the characters may inhabit different parts of the city on different social levels, they all prey to the evil, or they perpetuate the evil that stalks the streets and invades their homes. Seventeen years ago, Isobel was murdered at the age of nine. These conflicts are resolved through a reversal in the play's central and linear plot, producing in the central character s a recognition of an already existing, well-adjusted, and unified self whose problems have been explained as deviations from a hegemonic social norm. While actors and others drank coffee and ran lines in the lobby, Judith Thompson the writer walked about alone in the darkened room, getting into the blood, as she says, of her characters. The Vancouver Olympics brought the play there during the Para Olympics, to great acclaim. The play initially explored moments of crisis in the lives of a diverse and changing community. In the prison halls, Gail, a working-class guard, glides between her conscience and her professional duties, knowing her actions could ultimately lead to a tragic end.
In the plays of Judith Thompson, and most clearly in Lion in the Streets, intense empathy with naturalistically conceived character functions quite differently: in spite of a presentation of character that is psychologically acute, nothing is explained away. Or Thompson could be reflecting on how personal tragedy breeds emotional hardness or even severe cruelty. Sled 1997 , which began life as a seven-hour play called The Last Things, but was later cut down to three hours, attempts again to pursue human violence back to its sources. The Canadian Theatre Encyclopedia web site was originally conceived and developed in 1996 by Gaetan Charlebois—theatre critic, playwright, and actor. Replacing the unity of traditional linear narrative are the overarching but problematic presence of Isobel, the play's collage-like composite portrait of an urban neighbourhood in crisis and, in production, a multiplicity of associative visual and musical linking devices such as the act-ending dances and the evocative disk that featured above centre-stage in the original du Maurier World Stage and Tarragon productions. Production Enquiry Lion in the Streets © 1992 by Judith Thompson Enquire about performing rights at: Great North Artists Management, 350 Dupont St.
The interconnectedness of their lives is portrayed through the movement of one character from each scene into the next scene. She is also the sister of , a of who composed the music for a number of Judith's radio and stage plays. Such plays, then, serve to contain potential social and psychological unrest, to explain disturbances and dissatisfactions in terms of individual psychology, and by purging discontent to affirm the social and political status quo. The Fractured Subject of Judith Thompson During the extended six-week workshop in the spring of l990 that transformed Judith Thompson's radio play A Big White Light into the first stage version of Lion in the Streets at the du Maurier World Stage Theatre Festival in June l990, Judith Thompson the director would occasionally ask the stage manager, Nancy Dryden, to break the company and dim the light in the small back space at Toronto's Tarragon Theatre where the workshop was being held. Her own training as an actor no doubt reinforced Thompson's well-developed sense of characterization and her acute ear for dialogue, and Tarragon Theatre proved for almost two decades a congenial host for Thompson's writer-in-residency and a valued first producer for all of her plays from 1984 until 2006. But if poetic naturalism, however evocative, were all she wrote, Judith Thompson would not have the reputation she does as the creator of disturbing and dislocating theatrical experiences.