Ancestors calling on a hero’s journey through fear to true self in the engaging, powerful 11:11

Samson Bonkeabantu Brown. Set design by d’bi.young anitafrika. Costume design by Samson Bonkeabantu Brown. Lighting design by André du Toit. Photo by Brett Haynes. A.V.O. Collective brings the world premiere of its engaging, powerful production of 11:11, presented as part of Why Not Theatre’s RISER Project 2019, to the Theatre Centre’s Incubator stage. Written/performed byContinue reading “Ancestors calling on a hero’s journey through fear to true self in the engaging, powerful 11:11”

Advertisement

Power, connection & identity in the potent, magical, eye-opening Watah Theatre Double Bill

“A world without fairy tales and myths would be as drab as life without music.”—The Watah Theatre The Watah Theatre presents a Double Bill of biomythographies, including an excerpt reading of d’bi.young anitafrika’s Once Upon A Black Boy and the world premiere of Najla Nubyanluv’s I Cannot Lose My Mind, running in the Studio at Streetcar Crowsnest.Continue reading “Power, connection & identity in the potent, magical, eye-opening Watah Theatre Double Bill”

Reclamation & salvation—stories of Black women’s lives told with candor, sass & humour in powerful, theatrical for colored girls

Karen Glave, d’bi.young anitafrika, Ordena Stephens-Thompson, Akosua Amo-Adem, Evangelia Kambites, Tamara Brown & SATE in for colored girls—photo by Cylla von Tiedemann   Soulpepper opened its production of Ntozake Shange’s for colored girls who have committed suicide / when the rainbow is enuf, directed by Djanet Sears with assistance from Mumbi Tindyebwa Otu, to aContinue reading “Reclamation & salvation—stories of Black women’s lives told with candor, sass & humour in powerful, theatrical for colored girls”

Relevant, urgent, hopeful—the powerful, resonant evolution of Bleeders in Lukumi

There is a buzz of excitement and anticipation, a festive feeling. Those of us among the audience who arrived early had been listening in on a final rehearsal, taking in the lush harmonies and powerful lyrics as we waited in the hallway. And when we enter the space, we are welcomed, offered something to drink.Continue reading “Relevant, urgent, hopeful—the powerful, resonant evolution of Bleeders in Lukumi”

Sacred, profane & magical – blood variations & intimate, powerful storytelling in BloodClaat

In celebration of the 10th anniversary of BloodClaat: The Sankofa Trilogy Part 1, The Watah Theatre is remounting d’bi.young anitafrika’s award-winning Sankofa Trilogy, starting with a run of BloodClaat to open its 2016-17 Blk Bx Season [calendar link] at its home in Toronto’s Distillery District at 9 Trinity Street, Studio 317. The Sankofa Trilogy takesContinue reading “Sacred, profane & magical – blood variations & intimate, powerful storytelling in BloodClaat”

SummerWorks: Post-nuclear disaster bravery, vision quest & hope in the powerful, moving, resonant Bleeders

d’bi.young anitafrika and Watah Theatre wrap the Orisha Trilogy’s epic exploration of the Black diaspora, divinity and the environment with Bleeders, a dub opera running in the Theatre Centre Mainspace as part of SummerWorks. Part One of the Trilogy, Esu Crossing the Middle Passage, speaks to the past; Part Two, She Mami Wata and theContinue reading “SummerWorks: Post-nuclear disaster bravery, vision quest & hope in the powerful, moving, resonant Bleeders”

Fire & water in magical, sensuous & moving She Mami Wata & The Pussy WitchHunt

d’bi.young anitafrika’s epic exploration of the Black diaspora, activism, divinity and sexuality in The Orisha Trilogy – starting with Esu Crossing the Middle Passage – continues with The Watah Theatre’s production of She Mami Wata and The Pussy WitchHunt: The Orisha Trilogy Part 2. Directed by Blakka Ellis, assisted by Wendy Olunike Adeliyi, with choreographyContinue reading “Fire & water in magical, sensuous & moving She Mami Wata & The Pussy WitchHunt”

Powerful, deeply moving & bold investigation into the origins & echoes of the Black diaspora in Esu Crossing the Middle Passage

How do I describe what I witnessed at the matinee of The Watah Theatre’s production of d’bi.young anitafrika’s Esu Crossing the Middle Passage at Storefront Theatre yesterday? Written and performed by d’bi.young anitafrika, assistant directed by Charmaine Headley and choreographed by BaKari I. Lindsay, with music direction by tuku, and live vocals/music by tuku andContinue reading “Powerful, deeply moving & bold investigation into the origins & echoes of the Black diaspora in Esu Crossing the Middle Passage”

SummerWorks: A young woman’s journey through confusing, crazy times toward empowerment & love in The Emancipation of Ms. Lovely

“Today my heart broke,” said the seed, “it itched and ached, I was smashed to pieces.” “Ahh,” said the burning sun, “you were growing, to blossom you have to break.” – Ngozi Paul With today’s hand-held devices, and instant news and social media access, bad news travels even faster than before. The nature of theContinue reading “SummerWorks: A young woman’s journey through confusing, crazy times toward empowerment & love in The Emancipation of Ms. Lovely”