A reflection on Canadian theatre review and recognizing innovation and integrity in theatre for/by/with young people

Abstract

Theatre for Young Audiences (TYA) has been present in Canadian Theatre Review since the very first issue. This article explores how young people, children, and the artists who create work for them, have been addressed in CTR, with a focus on the first 25 years. The article overviews ways the journal discussed artists, creative practice, research, festivals, playwriting, design, funding, space, working conditions and respect for the craft. CTR made space to discuss stylistically innovative, controversial, and feminist TYA works; CTR presented TYA works that were issue based, featured ethnocultural diversity, shared complex historical narratives, presented puppets, intergenerational community collaborations, and more. While the ways CTR authors represented young people, the artists who create for them, diverse identities and abilities, and Indigenous peoples was sometimes problematic and should be given further research, CTR was a platform for advocacy for young audiences and the artists who make for them. Comparing the creation process and outcomes of Notmonde (1975) and The Urban Wildlife Project (2023) demonstrates how much some early creative projects can inform and inspire work today. The overview demonstrates that while some of the issues that challenged TYA artists fifty years ago remain with us today, so do many of the opportunities and joys that creating work for young people makes possible.