"Clare dazzles in the role of Ruth. Though Ruth is a woman who requires control and strives for perfection, Clare’s Ruth is in no way insufferable. Her eloquence, poise, and knowing glances leave the audience with no doubt that she is capable of matching wits with anyone, and though the character’s confidence often veers towards condescension, at her core she appears to be predominantly motivated by her love for her husband, which can be seen in the unmistakable chemistry between Clare and [Lucas] Blakely..."
-- Rebecca Flemister, The Medium Review for Blithe Spirit "The cast, and roles portrayed make individual commentaries almost impossible but one can certainly state that there are no weak or underplayed role interpretations. However, we could not help but notice the contributions of Gillian Clare..."
--Danny Gaisin, Ontario Arts Review Review for Metamorphoses "Clare (...) transforms Cheryl into a conflicted woman whom I instantly sympathized with..."
--Katherine Hangdaan, The Medium Review for The Nutcase |
INTERVIEWS/ENTREVUES
"Ce que j'adore dans ce texte [The Emigrants] est qu'il n'offre pas de solutions, il pose des questions. Et c'est en posant ces questions-ci qu'on peut commencer la conversation hors la salle. C'est notre but: offrir un spectacle qui vous fait réfléchir. On ne prêche rien. On suggère quelque chose..." Extrait de l'émission Panorama, CBC Radio Canada (écoutez ici)
“Because my scene is so intense, it’s important to leave it behind. It allows me to step out of a scene to discuss it and talk about what worked and what didn’t. It separates me the actor from me the person. It’s a safeguard that makes rehearsal more enjoyable,” Clare says... (From "Staging intimacy with consent"- read full interview )
“This training is useful for approaching moments of emotional or physical intimacy within a theatrical context because it gives you a framework in which to view the scenes instead of going in cold or not knowing what’s happening. So it gives you a process in which to approach the work.”-- Clare (From "Building a foundation of consent at Theatre Erindale"- read full interview )
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