STORYTELLING – Theatre
The Beginning
The origins of European theatre in Canada can be traced to 1583, with amateur performances marking its earliest beginnings. While theatrical traditions gradually took root in both English and French colonies through local entertainments and performances, it would be decades before professional actors from Europe and the thirteen colonies would arrive to establish a more formal theatrical presence.
The late 1700s saw American travelling troupes bringing melodramas and circuses to Canadian audiences, a pattern of cultural influence that would persist for generations. This influx of foreign entertainment, particularly after the construction of railway systems, created a complex dynamic in Canadian theatre. While the railways enabled greater accessibility to performances, they also ushered in an era of cultural imperialism and elitism that temporarily suppressed the development of a distinct national theatrical character.
The 1800's
The mid-to-late 1800s marked a significant shift as amateur actors began collaborating with local writers, particularly as theatre expanded westward. As new communities emerged across the West, theatres became priority establishments, leading to unprecedented growth in theatrical infrastructure. This expansion culminated in a remarkable construction boom between 1873 and 1892, during which forty theatres, each with a seating capacity exceeding 1,000, were built and connected by the expanding rail network.
Despite this growth, theatre attendance in Anglophone Canada remained largely an elitist activity, more so than in Quebec. Though foreign performers continued to demonstrate their conception of how theatre “should be done,” their presence occasionally sparked local creative innovation. However, the persistent competition from foreign touring stars and companies throughout the 19th century and well into the 20th century.
The 1900's
The first half of the 20th century saw Canadian theatre dominated by amateur productions, despite the active presence of foreign actors and companies in local theatres. The path toward a distinctly Canadian theatrical identity would be shaped by major historical events, including two world wars and the advent of radio and television. During this period, community theatres and drama competitions emerged as crucial training grounds for actors and writers who would later champion truly Canadian theatre, with theatre activists extending their influence through university drama programs and touring productions to smaller communities.
The trajectory of Canadian theatre faced significant disruption when World War I interrupted the established touring circuits. This interruption, combined with escalating costs, competition from emerging media like film and radio, and the devastating impact of the Great Depression, effectively ended the era of touring companies. While foreign performers had initially helped establish a theatre-going tradition and spurred the construction of numerous venues, their departure left Canada with minimal professional theatre infrastructure, having failed to cultivate its own theatrical professionals. Though visiting companies and foreign repertory groups occasionally performed, the void in professional Canadian theatre remained apparent.
The late 1950s marked a turning point with the establishment of regional theatres in major urban centers across the country. This development was followed by the widespread introduction of drama and theatre programs in universities and colleges throughout the 1960s. Canada’s Centennial celebrations in 1967 catalyzed unprecedented support for Canadian playwriting and production, with government and private funding for nonprofit professional theatre reaching subsidization levels of up to 50%. This period saw substantial investment in theatrical infrastructure, including civic centers, opera houses, and multipurpose auditoriums, effectively ending the era of staging productions in hockey arenas. These new facilities reinvigorated touring circuits for American plays and musicals, rekindling a theatrical exchange that had been dormant since the 1920s.
The 1970s ushered in an era of theatrical diversification, with small theatres dedicated to developing Canadian plays appearing in every province. Major urban centers, particularly Vancouver, established venues focused on showcasing Canada’s diverse cultural voices. This period also saw the expansion of young people’s theatre, culminating in the 1978 launch of the Vancouver Children’s Festival, which inspired similar international spring festivals across the country. The theatrical landscape continued to evolve through the 1980s and 1990s, notably with the emergence of women’s theatre and the establishment of a biennial festival of short plays addressing women’s issues in 1992.
Today
The COVID-19 pandemic of 2020 dealt an unprecedented blow to Canadian theatres, as the rapid global spread of the virus forced the closure of public spaces nationwide. The implementation of citywide lockdowns created an immediate crisis for the performing arts, compelling theatre companies to radically reimagine their approach to production and performance. In response, many companies pivoted to digital platforms, experimenting with online productions featuring limited casts and innovative “zoom” performances where cast members collaborated remotely through internet connections.
Despite these creative adaptations to the new reality, the financial impact on the theatre community proved severe and far-reaching. Theatre artists across the country faced extended periods of unemployment, while companies struggled to maintain operations in the absence of traditional revenue streams. The pandemic marked a defining moment in Canadian theatre history, challenging the very foundation of live performance and forcing the industry to confront an indefinite period of uncertainty.