
National Arts Centre reveals diverse lineup for 2025-26 season
Article content
There is always something new and creative to discover at the National Arts Centre, whether it's an edgy modern-dance show or a surprising take on an orchestral classic.
Article content
With four stages under its hexagonal roof and a skilled team of specialized artistic programmers in charge of six different genres of performing arts, the NAC's schedule gets filled with gems well in advance.
Article content
Article content
The 2025-26 calendar is no exception. Between September 2025 and spring of 2026, dozens of concerts, theatrical productions and dance events will be shoehorned into the building, including no fewer than nine world premieres. One show calls for a skateboard ramp at centre stage, while another is described as a Macbeth-meets-biker mashup.
Article content
Article content
The season will also mark a farewell for maestro Alexander Shelley, who has been leading the NAC Orchestra for more than a decade — and whose two young sons were born in Ottawa. Shelley has designed a final season that will include a big opera production of Puccini's Tosca, an all-Canadian edition of the Great Performers series, a seasonal presentation of Handel with an all-Canadian cast of vocalists, four world premieres and more.
Article content
The first, scheduled for January 2026, is co-produced by Toronto's Soulpepper Theatre and written by Natasha Mumba, a graduate of Ottawa's Canterbury arts high school and now based in Toronto. Entitled Copperbelt, it's the story of a Zambian-born woman who's made a life for herself in Toronto, but is compelled to return to her homeland when her estranged father falls ill.
Article content
Article content
Article content
The second Aquino-directed world premiere is cicadas, created by David Yee and Chris Thornborrow. Commissioned by the NAC, it's an eco-thriller set in Toronto in 2035.
Article content
Article content
The English theatre season also features a family play described as a live theatrical cinema experience starring Canadian DJ Kid Koala, who performs live on piano and turntables every night of the Dec. 3-13 run. The tale of a small-town mosquito trying to make it big in music also uses puppeteers, miniature sets, a string trio and cameras to tell its story.
Article content
Another six shows will be presented by the Indigenous theatre department under the artistic leadership of Kevin Loring. They range from the inter-tribal collaboration that drives Nigamon Tunai to the world premiere of Tomson Highway's latest, Rose, to an allegorical circus piece from New Zealand, Te Tangi a Te Tūī.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Winnipeg Free Press
2 hours ago
- Winnipeg Free Press
Indigenous opera singer Emma Pennell wins $25K emerging artist award
Indigenous soprano Emma Pennell has won a $25,000 emerging artist award. The 27-year-old opera singer will receive the RBC Emerging Artist Award during weekend celebrations for the 2025 Governor General's Performing Arts Awards. Pennell was chosen by a committee of artistic leaders at the National Arts Centre. Daphne Burt, senior manager of artistic planning for the NAC Orchestra, nominated Pennell, describing them as a star on the rise. Pennell says the award is a life-changing amount that would help cover the expensive costs of opera auditions, which often involve travel and stage attire. Pennell will receive the award at a special event on June 14th, part of the weekend of celebrations for the Governor General's Performing Arts Awards. 'Not many people who come from places that I come from have these opportunities and so I owe it to all the Indigenous people that I've met along the way,' said Pennell, who has Ktaqmkuk Mi'kmaq roots and is from the village of South River in rural Northern Ontario. 'Our voices, our art, our performances and our bodies belong on these stages just like everybody else. I actually have no idea how the National Arts Centre found me, but they did! It's just amazing.' This report by The Canadian Press was first published June 4, 2025.


Toronto Star
15 hours ago
- Toronto Star
It's one of Shakespeare's so-called ‘problem plays,' but in the hands of the Stratford company it's a must-see production
The Winter's Tale 4 stars (out of 4) By William Shakespeare, directed by Antoni Cimolino. Until Sept. 27 at the Tom Patterson Theatre, 111 Lakeside Dr., Stratford, Ont. or 1800-567-1600 STRATFORD — Ah, the duality of the Stratford Festival. Last Wednesday, I attended the opening of Robert Lepage's highly anticipated 'Macbeth' revival, which turned out to feature some of the year's most disappointing performances. Then, on Friday, only two days later, I watched much of that same ensemble from 'Macbeth' deliver one of the best acted Shakespeare productions I have ever seen at Stratford, in director Antoni Cimolino's 'The Winter's Tale,' the first play to open this season at the Tom Patterson Theatre. Those two shows could not be more different. Whereas Lepage's 'Scottish play' is defined by its high-concept directorial treatment, Cimolino's 'Winter's Tale' is marked by the absence of one, with a staging that places complete trust in the material and in the skill of its cast. The result: an exemplary production that should be a must-see for any Shakespeare lover. 'The Winter's Tale' is a curious work, often considered to be one of the Bard's so-called 'problem plays.' ARTICLE CONTINUES BELOW Its first half unfolds like a psychological tragedy: King Leontes of Sicily (Graham Abbey), wracked with jealousy and paranoia, falsely accuses his pregnant wife Hermione (Sara Topham) of having an affair with his best friend, Polixenes (André Sills), the King of Bohemia. When his plot to murder Polixenes is foiled, Leontes' wrath is soon directed at his wife. He imprisons Hermione and orders Lord Antigonus (David Collins) to leave her newborn girl to perish in the wilderness. However, as if by an act of divine retribution, Leontes' son, Mamillius (Philip Myers), suddenly dies. So does Hermione, stricken by grief. Only then does Leontes recognize his folly — that his wife and Polixenes were innocent, and that Hermione's baby was his all along. Graham Abbey as Leontes with members of the company in 'The Winter's Tale.' David Hou/Stratford Festival The first three acts of 'The Winter's Tale' are unforgiving. It seems only inevitable that Shakespeare shall condemn Leontes to the same tragic fate that meets so many of his other flawed protagonists. But that doesn't happen here. After intermission, Leontes' court gives way to rural Bohemia. Some 16 years have passed and we learn that the King's daughter Perdita (Marissa Orjalo) didn't die, but was instead saved and raised by a pair of shepherds (the amusing duo of Tom McCamus and Christo Graham). Shakespeare's tragedy soon transforms into a pastoral comedy, then into a romance that concludes with a happy ending. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW At its heart, 'The Winter's Tale' is a story about redemption, forgiveness and our ability, with time, to evolve. The play's shifts in tone may come across as erratic, but they only serve to mirror its themes. Change can come when we least expect it. A tragic ending — for both Leontes and for this play — is not inevitable. And there's ultimately much beauty, and hope, in that. Cimolino's revival handles these tonal changes seamlessly. Yet this isn't achieved by dulling the comedy nor the tragedy. The humour in this production is hearty and plentiful, while the play's darkest scenes are rendered with their brutality fully intact. Rather, the success of Cimolino's staging lies in its simplicity and impeccable pacing. Douglas Paraschuk's nimble set mostly consists of a number of white blocks. The costumes, by Francesca Callow, are of the period, and easily distinguish between Leontes' court and the carefree countryside of rural Bohemia. These design elements effectively serve the story, but never overshadow it. Members of the company in 'The Winter's Tale.' David Hou/Stratford Festival Perhaps Cimolino's only major directorial intervention is his addition of a prologue and epilogue, featuring Mamillius and the character of 'Time' (a godlike Lucy Peacock), who typically only appears at the top of the fourth act with a speech to bridge the play's 16-year gap. Bookending the work with these characters, inhabiting an ethereal, heavenly realm, helps to ground the play. It reminds us that this story, with its various magical and fantastical twists, should not be interpreted literally. As Leontes, Graham Abbey delivers the standout performance of the Stratford season thus far. His Leontes trembles in his step and stammers through his speech. His paranoia is one that stems from insecurity. In the first act, especially, Abbey convincingly charts Leontes' unravelling: from suspicion to jealousy, to anger, to vengeance. ARTICLE CONTINUES BELOW ARTICLE CONTINUES BELOW Austin Eckert as Florizel and Marissa Orjalo as Perdita in 'The Winter's Tale.' David Hou/Stratford Festival Meanwhile, Topham imbues her Hermione with a sense of dignity. (Her trial scene is bone-chilling.) As Paulina, Hermione's friend and fierce advocate, the ever formidable Yanna McIntosh delivers her lines in thunderous voice, stalking across the stage. In a spineless court of advisers unwilling to stand up to Leontes, it's she who becomes its conscience. There are exceptional performances all around. Orjalo and Austin Eckert possess wonderful chemistry as Perdita and Florizel, Polixenes' son. They're not to be outdone by Collins and Tom Rooney, equally fantastic as the king's aides, Antigonus and Camillo. And Geraint Wyn Davies brings the humour as the thief Autolycus, a shape-shifting trickster with a wry, toothy grin. After all this comedy runs its course, however, 'The Winter's Tale' concludes on a deeply solemn note, with a final scene that's tender and heartbreaking. Those unfamiliar with the play may not see it coming. But when it arrives, it's an ending that feels so absolutely right. Salvation, after all, is a wonderful thing.


Toronto Star
3 days ago
- Toronto Star
‘The Apprentice,' ‘Canada's Drag Race' among big winners at Canadian Screen Awards
A film chronicling the rise of Donald Trump won best motion picture at the Canadian Screen Awards on Sunday, where its Toronto-born producer used his acceptance speech to address the U.S. president's threats to Canadian sovereignty. Daniel Bekerman is the lead producer of 'The Apprentice,' a Canada-Ireland-Denmark co-production that portrays how Trump got started in the real-estate industry and honed his persona under the mentorship of controversial fixer Roy Cohn.