Looking ahead at the most exciting events across arts and culture in 2017


The Shaw Celebration reboot

“I believe in theatre that’s unpredictable,” new artistic director Tim Carroll is estimated as saying on the repertory theatre’s revamped website– and, certainly, the British director’s first lineup of plays in Niagara-on-the-Lake is anything but foreseeable. If former creative director Jackie Maxwell broadened the “Bernard Shaw and his contemporaries” required, Carroll appears to have rewritten it as “Shaw and contemporary theatre.” The most expected operate in his upcoming very first season (start previews in April) was all penned post-1970: Rick Salutin’s legendary but seldom revived Theatre Passe Muraille play 1837: The Farmers Revolt; the Canadian best of off-Broadway experience Branden Jacob-Jenkins’ An Octoroon, to be directed by the definitely unpredictable genius Peter Hinton; and Middletown, American oddball Will Eno’s reaction to Our Town. Carroll, a Tony nominee, will be directing the 2 Shaw uses the costs: Saint Joan and Androcles and the Lion— his very first and 2nd time tackling the celebration name’s work. Like he states, unpredictable.

Joe Clark: The hero of a play? Political addicts eagerly wait for The Drawer Boy playwright Healey’s new funny, 1979— which thinks of the previous Progressive Conservative prime minister, behind closed doors, as good friends and enemies plead with him not to present the budget that would fall his minority federal government less than a year after it had taken workplace. Healey has previously written speculative funnies about a Canada where Quebec voted 53 per cent in favour of separation (Fallback); and an 2011 election success by Stephen Harper where the Conservatives swept la belle province (Happy). His newest appears set in a more recognizable past– with figures such as Harper, Maureen McTeer and Pierre Elliott Trudeau all making cameos. Worldwide best for 1979, set for April at Alberta Theatre Projects in Calgary, Clark will be played by Philip Riccio. A couple of days later, the Great Canadian Theatre Business in Ottawa will open a 2nd production starring Sanjay Talwar that will ultimately move to the Shaw Celebration.

National Arts Centre and Canada 150

Major news will come in 2017 when the National Arts Centre reveals who will be the inaugural artistic director of its new Indigenous Theatre– set to launch in 2019. The NAC’s dedication to indigenous artists is not simply in the future: As part of Canada 150 in July, its English Theatre will bring Kid of God, Corey Payette’s musical about an Oji-Cree household split apart by residential schools, to the capital following a run in Vancouver at the Cultch. Early buzz has actually drawn comparisons with difficult Broadway fare, such as Enjoyable House and Next to Regular. Artistic director Jillian Keiley’s buildup to the sesquicentennial events looks equally appealing– with her old St. John’s-based business Artistic Fraud’s production of The Colony of Unrequited Dreams (adapted from the successful novel by Wayne Johnston about Newfoundland premier Joey Smallwood) kicking things off in January. After a run in Ottawa, it will visit to the Neptune Theatre in Halifax in February and the Grand Theatre in London, Ont., in March.

< img src="http://www.theglobeandmail.com/arts/article33456227.ece/BINARY/w620/theatre-breathinghole30rv.JPG" alt ="Jani Luzon as Aga in The Breathing Hole."data-id ="33456227" itemprop ="url"> Jani Luzon as Aga in The Breathing Hole. Métis and Inuit characters are at the centre of a number of significant new plays premiering in the brand-new year– written by both Very first Countries and inhabitant playwrights: Redpatch, about a young Métis solider from Vancouver Island combating in the First World War inspired by co-creator Raes Calvert’s grandfather (Vancouver’s Hardline Productions, from March 29); Sarah Ballenden, Maureen Hunter’s new drama set during the Red River settlement and starring Sera-Lys McArthur as the Métis spouse of a high-ranking Hudson’s Bay Co. officer (Royal Manitoba Theatre Centre, from April 19); and The Breathing Hole, Colleen Murphy’s legendary set over 500 years in the North directed by Reneltta Arluk (Stratford Festival, beginning July 30). An increase of native stars will be joining the Stratford company for the latter production– from veterans Jani Lauzon and Gordon Patrick White to hotly tipped newcomers, consisting of Yolanda Bonnell and Nicholas Nahwegahbow.

Sara Jean Ford and Jordan Barrow carry out during a media preview

of Garth Drabinsky’s Madame Sousatzka at the Elgin Wintergarden Theatre in Toronto. FRED LUM/THE WORLD AND MAIL Toronto to New York– and vice versa Originate from Away has found praise and sold-out crowds in Glimpse, Nfld., and Toronto; next, we’ll see how Brand-new Yorkers welcome Torontonian Irene Sankoff and David Hein’s jubilant program about refugees and the kindness of complete strangers in Newfoundland on 9/11, just the fifth musical both written and composed by Canadians to make it to Broadway (main opening March 12). Then, simply a few blocks south and to the west, Toronto’s Soulpepper Theatre Business will be showcasing works by Ins Choi, Ravi Jain and Vern Thiessen, in addition to numerous of its hit musical works composed by Mike Ross (Spoon River), at the Pershing Square Signature Center throughout a month-long residency in July.

Meanwhile, back in Hogtown, infamous producer Garth Drabinsky has brought a load of New york city talent to town for his brand-new musical Sousatzka (opening March 23 at the Elgin Theatre)– composed by Broadway veterans and starring the likes of Tony-winner Victoria Clark and candidate Montego Glover. However while the Drabinsky-groomed tale of a piano instructor and her protégé is being billed as “prior to Broadway,” unlike Come From Away and Soulpepper, it hasn’t got a theatre booked in Manhattan yet.


Rap’s centre of gravity has actually long been moving to the American south, but its soul sprang from New York. Run the Jewels lives in both worlds. Atlanta’s Killer Mike and Brooklyn’s El-P first joined forces previously this years through their solo work, however have because turned into one of hip hop’s most powerful duos. Run the Jewels 3 drops in physical form on Jan. 13, following a near-universally beloved sophomore album. On singles this year, including Legend Has It, Talk with Me and 2100, the band builds upon their balanced mix of bold beats and boasts, one-liners and complete narratives, weed cigarette smoking and political trolling.

Weezer may decrease as the most name-checked band from the heyday of 1990s power pop, however Canada’s East Coast handed them a reasonably formative moment: The first trip bus Rivers Cuomo ever entered, the frontman states, was Sloan’s. The Maritimes has a rich history of catchy-as-all-hell power pop– including the Super Friendz, Jale, Thrush Hermit, and more just recently, TUNS– and Sackville, N.B.’s Partner is contributing to that tradition. Leaders Josée Caron and Lucy Niles write sub-two-minute blasts of punky sound that vary from stoner celebrations to coming-out anthems. The band’s debut, Looking for Lost Time, is due out in 2017. It was mixed by Chris Shaw, a four-time Grammy-winner who engineered– no joke– Weezer’s eponymous 1994 “blue” album.

I screwed up. A year ago, I composed that Japandroids’s long-rumoured third LP would be among the finest records to look forward to in 2016. Readers, I was incorrect by 27 days. I’m pleased to announce that the garage-rock band’s Near to the Wild Heart of Life will come out in January, after an almost five-year wait. It guarantees the exact same thing a Japandroids album always does: bangers. But there’s more this time. Wedged amongst their washed-out electric-guitar wild-outs are acoustic moments and Tom Morello-style warbles. Singer-guitarist Brian King told me in a forthcoming interview that the band abandoned its normal studio guidelines for this record. Now, he states, “the band or its music might be anything.”

What does it cost? more can modern pop mine the eighties before stripping it bare? The least cynical among us might recommend the response is less about running out of source product than to tap a less-used vein. Go into Haim, a band from Los Angeles whose 2013 debut Days Are Gone owes its sound less directly to Prince or Michael Jackson than to Fleetwood Mac’s synthy, glossy 1987 album Tango in the Night. Sis Este, Alana and Danielle Haim have actually assured a brand-new album come summer, and have been evaluating new songs live, including one called Absolutely nothing’s Wrong. It fits in Tango’s and Days Are Gone’s lineage: revelling in hooks and consistencies, having fun with drums that shift from sparse to pounding, building the type of grooves that stick in your head for days. They’re not scared to commemorate more apparent 80s competitors, though: lately they have actually taken to covering Prince’s I Would Die 4 U.

Arcade Fire carries out during Panorama music festival on Randall’s Island in New york city on July 22, 2016. KENA BETANCUR/AFP/Getty Images Game Fire and Broken Social Scene While the Web flustered the majority of the record market in the early 2000s, “indie rock”– which then described independent artists but has actually given that been mostly robbed of significance– ended up being a more accessible beacon of cultural currency. Canada talented the world with two of the finest bands to have actually outlasted that period. Arcade Fire frontman and NBA All-Star Celebrity Video game MVP Win Butler hinted last year that a new album should arrive this spring. And after a long not-quite-breakup, Broken Social Scene got back together after the 2015 Bataclan auditorium attacks and have discussed strategies for a 2017 record. While the bands drive on different sonic avenues, they’re each prone to regreting the modern world in tune, and will have lots of new source product to work with.


Remakes, restarts, and superheros– yes, 2017 pledges all Hollywood’s normal techniques. Amongst those big-ticketed items are a handful of really appealing hits, if not in ultimate execution than at least in initial promise. The most prominent example is Blade Runner 2049, Denis Villeneuve’s follow up to Ridley Scott’s prominent sci-fi writing. While existing market fashion determines a Blade Runner remake would be more suitable, Villeneuve (together with Scott, in the manufacturer’s seat) has crafted a genuine follow-up to the initial narrative, with a new android-hunter named K (Ryan Gosling) on a mission to discover the maybe-replicant Deckard of the very first film (Harrison Ford, who, after Indiana Jones and the Kingdom of the Crystal Skull and The Force Awakens, is an old hand at revisiting old roles). That brief synopsis may not sound innovative, however the Québécois Villeneuve (Arrival, Sicario) has actually shown himself time and once again to be a bold filmmaker filled with surprises. (Oct. 6)

Tom Hardy stars in Christopher Nolan’s Second World War film, Dunkirk. Whatever you consider Christopher Nolan’s filmography, it’s tough to deny the director has a style for taking cinema to actual new heights (see the sky-set opening of The Dark Knight Rises orthe totality of Interstellar). Case in point: Dunkirk, Nolan’s upcoming 2nd World War movie, which was shot on a mix of IMAX 65mm and 65mm large-format stock. Following the evacuation of Allied soldiers in Operation Dynamo, the thriller assures action of a legendary scale, and boasts a big cast to boot (including Nolan regulars Cillian Murphy and Tom Hardy, plus newcomers consisting of Kenneth Branagh, Mark Rylance and, intriguingly, Harry “One Direction” Styles). (July 21)

Star Wars: Episode VIII

Little is understood about the next instalment of the Star Wars franchise– even the title has yet to be revealed (although rumours indicate a handful of alternatives, consisting of the great The Order of the Dark Side and the not-so-great Tale of the Jedi Temple). However the brain trust behind the franchise has already shown its worth with The Force Awakens and Rogue One, and let’s be sincere: There will be no preventing this juggernaut. Plus, director Rian Johnson (Brick, Looper) is an interesting option to follow J.J. Abrams, and the mix of familiar faces (Daisy Ridley, John Boyega, Adam Chauffeur, and Oscar Isaac are all returning) and franchise newbies (Benicio del Toro and Laura Dern? Sold!) is alluring. (Dec. 15)

Valerian and the City of a Thousand Planets

A big-budget sci-fi movie with no integrated brand awareness? Yes, Luc Besson seems to have accomplished the impossible with this unwieldly titled adventure. Based on the French comic Valerian and Laureline, the movie seemingly places Beeson in familiar Fifth Aspect-like area: the very first trailer is all candy-coloured visuals, goofy laser-shooting aliens, and gonzo haute-future set style. It will take a lot, however, for the image to stand out versus 2017’s more widely known space-set properties (including the previously mentioned Episode VII and Ridley Scott’s Alien: Covenant), however in Besson we trust. (July 21)

Yes, it’s another superhero film. And yes, it’s from Warner Bros., which has up until now displayed an exceptional failure to do anything ideal with its DC Comics brand name. However Wonder Female offers a semblance of hope. For beginners, it’s that regrettably rare comic adaptation that not only focuses on a female hero, but is helmed by a female. It will be truly fascinating to see exactly what Patty Jenkins brings to the category, competent as she currently is at balancing action, funny and intrigue thanks to her comprehensive tv work. And as Gal Godot’s quick look was by far the finest part of Batman v Superman: Dawn of Justice, audiences already understand we have a star we can rely on. (May 7)


< img src="http://www.theglobeandmail.com/arts/article33456229.ece/BINARY/w620/visualarts-chagall30rv.JPG" alt="

Last maquette for the mural at the Metropolitan Opera, Lincoln Center, New york city: The Triumph of Music, 1966.”data-id

=”33456229″itemprop=”url”> Last maquette for the mural at the Metropolitan Opera, Lincoln Center, New York: The Victory of Music, 1966.< figure itemprop="associatedMedia image" itemscope=""itemtype ="http://schema.org/ImageObject"> Chagall: Colour and Music, Montreal Museum of Fine Arts Marc Chagall’s popularity has actually constantly run ahead of his important credibility. One London critic prefaced a thoughtful current essay on the Russian painter’s continued appeal with the question,”Is Chagall any excellent?”Whatever position you take, there’s a strong body of viewpoint that his skills were finest suited to circumstances connected to music and phase performance. The MMFA opens its 2017 season with a substantial screen of Chagall’s works for theatre interiors and theatrical productions, consisting of paintings, sets and outfits. At more than 486 works and associated files, it’s billed as the most significant Chagall exhibit yet in Canada. (Jan. 28-June 11)– Robert Everett-Green

The Museum of Canadian Art Toronto resuming, Automotive Building

The former Museum of Contemporary Canadian Art left its digs on Toronto’s Queen Street West in 2015, with the aspiration of opening a much larger and much better area in the century-old Automotive Building further west. The huge relocation, which the museum hopes will expand its audience tremendously, has not been achieved without turmoil at the top, including the departure of director Chantal Pontbriand last summer season, after just 8 months on the task. With an opening planned for late 2017, the museum is betting that the reconditioned industrial space will become a location for art enthusiasts in Toronto and beyond. (Fall 2017)– Robert Everett-Green

< figure itemprop=" associatedMedia image"itemscope=

“”itemtype =”http://schema.org/ImageObject”>

A rendering of the brand-new Emily Carr University. Emily Carr University of Art + Style opening When the new Emily Carr University of Art + Design campus opens in September, 2017 (or thereabouts ), its Michael O’Brian Exhibit Commons will be set up with works by Emily Carr alumni, from the very first class of the Vancouver School of Art, as it was called in 1925, to today. While the university cannot (or will not) say whose work will be included in the inaugural exhibit, consider the list of graduates of Emily Carr, among the country’s top art schools. They include Jack Shadbolt, E.J. Hughes, Douglas Coupland, Stan Douglas, Liz Magor and Geoffrey Farmer– Canada’s representative at the 2017 Venice Biennale. Plus, you’ll have a chance to inspect out the shiny new digs, currently under building in East Vancouver. (September)– Marsha Lederman

Georgia O’Keeffe, Art Gallery of Ontario

If you think of Georgia O’Keeffe as a recluse living in the New Mexican desert painting big attractive flowers and brooding animal skulls, the Art Gallery of Ontario want to broaden your horizons. The AGO is the only North American stop for a significant retrospective devoted to the American painter organized by London’s Tate Modern and opening in Toronto April 22. The show, titled merely Georgia O’Keeffe, will consist of such familiar paintings as Asian Poppies and Jimson Weed/White Flower No. 1, which ended up being the most pricey painting by a woman when it sold for $44.4-million (U.S.) at a 2015 auction. It also includes the artist’s early New York experiments with abstraction and an area on her creative and personal relationship with her husband, influential photographer Alfred Stieglitz, as it seeks to challenge clichéd understandings of the artist and stress her function as a pioneering modernist. (April)– Kate Taylor

Annie Pootoogook in front of her artwork. National Gallery of

Canada With more than 1,000 works, it is being billed as the largest display of Canadian art worldwide. It’s the National Gallery of Canada’s reinstallation of its irreversible collection in time for the sesquicentennial events next summer– a reinstallation with a distinction: Indigenous art and photography will now be incorporated into the primary narrative. Opening in May, Canada’s Masterpieces: Our Stories will follow the development of Canadian art from 17th- and 18th-century religious operate in Quebec to the flowering of the Group of 7 in the 1920s and the advancement of Inuit printmaking in the 1960s, and will include such familiar Canadian artists as Lucius O’Brien, David Milne, Tom Thomson, Emily Carr and Annie Pootoogook. The story after 1960 will then be selected up by a new hanging of 100 works in the contemporary galleries.– Kate Taylor