Pres­ti­gious award for Wake­field di­rec­tor

Ottawa Citizen - - YOU -

Wake­field’s Na­dia Ross has been named the win­ner of the coun­try’s most pres­ti­gious theatre award, the Simi­novitch Prize.

“To be rec­og­nized by the Simi­novitch Prize for di­rect­ing is lifechang­ing. I am most grate­ful to the Simi­novitch fam­ily and to the jury who se­lected me,” Ross said in a news re­lease. “I am also de­lighted to help sup­port the next gen­er­a­tion with the ad­di­tional pro­tégé award. Thank you so much for this in­cred­i­ble gift.”

Now in its 16th year, the Simi­novitch Prize rec­og­nizes a body of work in de­sign, di­rec­tion and play writ­ing in three-year cy­cles. Win­ners re­ceive $75,000, while $25,000 goes to a pro­tege of their choice — Ross has cho­sen Sarah Conn and Shaista Latif to share $25,000 be­tween them.

Ross’ work, which has blended per­for­mance, video and installation in pieces like What Hap­pened to the Seeker, has gar­nered an in­ter­na­tional rep­u­ta­tion since she es­tab­lished STO Union in Toronto in 1992 — which has grown into a touring com­pany, pre­sent­ing orig­i­nal Cana­dian work at fes­ti­vals in Canada and across four con­ti­nents in­ter­na­tion­ally In 2005, Ross left Toronto to re­turn to the Ou­taouais, where she was born.

Ross was among five fi­nal­ists com­pet­ing in the cat­e­gory of di­rec­tion. The oth­ers were: Toronto’s Ross Man­son, who has also di­rected in Ot­tawa; Que­bec City-based Chris­tian Lapointe; Ravi Jain, a Toronto di­rec­tor with a strong in­ter­est in theatre that is both po­etic and po­lit­i­cal; and Jonathan Chris­ten­son of Ed­mon­ton’s Cat­a­lyst Theatre. “De­spite an in­cred­i­bly tal­ented pool of fi­nal­ists, the jury unan­i­mously se­lected Na­dia as the lau­re­ate,” said jury chair Bob White in a news re­lease. “We felt the in­tegrity of her work, her pro­found vi­sion for the theatre, and her fierce spirit best re­flected the as­pi­ra­tions of the Simi­novitch Prize.”

Her work is char­ac­ter­ized by im­me­di­acy and in­ti­macy, with a fo­cus on dra­maturgy that is thor­oughly re­searched and lo­cated within his­tor­i­cal nar­ra­tives of power and pol­i­tics. She has ex­plored and pushed ac­cepted bound­aries and has been de­scribed as be­ing “a fore­run­ner of the in­ter­na­tional post-dra­matic move­ment in Canada.”

Na­dia Ross

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