A common thread throughout much of Canada’s current theatrical output is that it asks audiences to think deeply about themselves and their connection to the material. Working with the idea that theatre has an important social and educational impact, my essay examines the need to set boundaries for theatre content. These boundaries are meant to function as a set of guidelines for managing controversial artistic choices, especially in a culture where artistic freedom and productive controversy are at stake. Some of the criteria I have developed for how to set boundaries include: how the work represents its subjects; what Canadians see as taboo; personal limitations individuals set for themselves; and, contentious timing. My research examines recent case studies, starting with Robert Lepage’s Kanata, which aimed to discuss Canada’s settler history, however, was cancelled in Canada after Indigenous artists and activists wrote an open letter concerning the lack of Indigenous presence in the cast and production team. I then move to an example that challenges my proposed model with Prom Queen: The Musical, a play about an Ontario student and his boyfriend battling the Catholic school board to go to prom together. I argue that although the play may not represent the values of the school board, adequate representation of the board’s ideals should be disregarded due to their anti-LGBTQ2+ beliefs. Through these examples and more, my research found that there are certain boundaries that should not be crossed in theatre. However, determining where these boundaries are situated remains in constant negotiation.
Gender Attitudes in Religious Schools: A Comparative Study of Religious and Secular Private Schools in Guatemala