PRESS
I am YEG Arts: Interview with Andrew from the Edmonton Arts Council
Emerging Artist of the Year: Interview with Edmonton Journal
Cycle
“fascinating and nerve-wracking solo show — part-memoir, part-documentary, part activist drama on wheels — in a city where ‘bike lane’ is a conversational gambit that could singe your eyebrows, the cyclist stakes a claim. A claim for safe urban space” - Liz Nicholls, 12th night theatre (Read full review here)
The Woman in Black
“It’s hard to imagine a scarier or more thrilling show” - Justin Bell, Edmonton Journal (Full review here)
“Draw on your emotions and our imagination. Andrew Ritchie’s crack production does both..Ritchie’s production, and his team of designers, are inspired by the possibilities of this theatre playground” - Liz Nicholls, 12th Night (Full review here)
“This show was excellently executed with jump scares eliciting screams from the audience. The woman in black appears suddenly and in a disturbing way more than once - the magic created by superb lighting. Ritchie has directed a terrific piece of theatre that moves” - Kristen Findlay, Finster Finds (Full review here)
“Debuting director Andrew Ritchie jumps right into this unsettling tale, using the Varscona space to full effect, whether with lighting, minimal props or roving actors. Not knowing when or where a voice (or body) is coming from ups the tension in an already intriguing premise.” - Lucy Haines (Full review here)
“We’re really using the Varscona and being inspired by the space we’re in” - Liz Nicholls, 12th Night (Full preview here)
Hamlet in Isolation
“How all occasions do inform against me. And spur my dull revenge. Those words resonate for many affected by the pandemic, especially those in the arts community whose work was declared non-essential”- Liane Faulder, Edmonton Journal (Full article here)
“When you watch several (episodes), the pieces will be in conversation with each other,” Ritchie hopes, “an interesting exploration of the text” affected by who the actors are since they’re filmed in their own personal habitat. - Liz Nicholls, 12th Night (Full article here)
Ruminations on mortality and meaning. All very Of This Moment, don’t you think? - Liz Nicholls, 12th Night (Full article here)
“Considering the decline in Canadians’ mental health, especially among youth, audiences are bound to find the character’s plight familiar” - Stephanie Swensrude, The Nugget (Full article here)
The Circle
“They united in isolation last week from their homes, using video-conferencing technology to connect and YouTube to reach their audience for a live-streamed script reading.” - Ashley Martin, Regina Leader-Post (Read full review here)
“As creators and theatre-makers, we are innovators, and I think there's a lot of innovation happening right now. It just felt so crushing that they wouldn’t get the opportunity to do that show…I felt I needed to do something to try to make sure they got some form of closure for the project” - Julie Peterson, CBC News (Read full interview here)
Mr Burns, a post-electric play
“This play has made possibly the best use of the Westbury that potentially I have ever seen. The third act…I am reeling from it…its funny and haha and then all of sudden we are snapped back to reality and it is scary” - Mel Priestly, Ghostlight Podcast (Full podcast here)
“Under Ritchie’s direction, the actors have a compelling and alert, natural spontaneity about them, in the cross-weave of fragments, interruptions, silent pauses. There’s a wild go-for-the-gusto theatricality about this bold play. And in this ambitious indie venture Ritchie and his designers really dig in.” - Liz Nicholls, 12th Night (Full article here)
“Mr. Burns, a post-electric play under the perceptive and creative direction of Andrew Ritchie, is distinctive and insightful.” - Colin MacLean, Gig City (Full article here)
“They all made me laugh, think, appreciate the need for art in terrible times, and leave feeling hopeful.” - Louise Mallory, Ephemeral Pleasures (Full article here).
“Is pop culture what we derive our meaning, our ethics, our morality, from?” says Ritchie of a play whose three acts happen, successively just after the apocalypse, seven years, then 75 years later.” - Liz Nicholls, 12th Night (Full article here)
“A show not to miss this season on Edmonton stages” - Liz Nicholls, 12th Night. (Full list here)
Shakespeare’s Will
“Ritchie’s direction, and Gianna Vacirca’s choreography, are admirably inventive…in the artful roving production… five vivid, lively actors share the role of Anne.” - Liz Nicholls, 12th Night (Read the full review here)
“For this one, I walked by cemeteries all the time and they kind of scare me. I loved walking by them in the middle of the night and I thought ‘Can a show happen in a cemetery?” - Tamanna Khurana, Vue Weekly (Read the full preview here)
“Is [the graveyard] “a reverent place” where the irreverence of the play — with its talk of sex, lovers, infidelity, secrets - can shine.” - Liz Nicholls, 12th Night (Read the full preview here)
“Together, the actors each bring their own experience and aesthetic to the role, forming a sort of Greek chorus that brings a depth of dimension to the character.” - Jenna Marynowski, After the House Lights (Read the full preview here)
“it is our responsibility to create more opportunities for under-represented communities in our company and our productions” - Edmonton Arts Council Blog (Read the full preview here)
Everyone We Know Will Be There: A House Party in One Act
“You can only imagine how complicated this kind of spontaneous chaos, at the intersection of the individual and the group, is to synchronize. Kudos to Belyea, Ritchie and stage/production manager Tori Morrison for figuring out the smaller personal arcs within a larger arc of a ‘play.’” – Liz Nicholls (Full article here)
"For the Children: Everyone We Know Will Be There is a truly immersive play that takes place in a suburban house." - Josiah Hughes, Swerve (Full article here)
Kill Shakespeare
"What shines above all else in this production is the dedication to the overlap of sound effects produced by the performers and even the audience. 4 Stars” - Jake Pesaruk, Vue Weekly (Read the full review here)
One of Edmonton Public Library’s ‘Picks of the Fringe’ (See the full list here).
One of ‘Shows to See at the Fringe’ - Liz Nicholls, 12th Night (See the full list here)
“Audiences will be surprised by the intersection of all the productions elements: comic book slides, voice acting, foley, music, audience interaction, and staging!” - Jenna Marynowski, After the House Lights (Read the full preview here)
Much Ado About Nothing at Lougheed House
"I cannot praise Andrew enough for the way he uses audience members to play minor characters...inspired concept, inspired staging, and inspired performances 4 Stars” - Louis B. Hobson, Calgary Herald (Read the full review here)
"This production has all of what makes the play romantic, funny, and a pleasure to be a part of" - Jenna Shummoogum on Theatre (Read the full review here)
"It's gorgeous, you don't have to pay a set designer because you have this beautiful set that I could never possibly afford.” - James Young, CBC (Read the full preview here)
“This performance will be interactive though and actors will move throughout the house over the course of the show.” - Ian Campbell, 660 CityNews (Read the full preview here)
“As the play unfolds, we’ll be taking the audience on an unofficial tour of this magnificent house” - Louis B. Hobson, Calgary Sun (Read the full preview here)
“One of the reasons why the time period really works for Much Ado About Nothing: There’s no danger anymore, life is full of love and joy. In a similar vein, the time period of the 1920s—the post-First World War period in Canada was a period of innovation and of joy in coming out of this horrific event. That parallel brought us into the world” - Jon Roe, Swerve Magazine (Read the full preview here)
No One Showed Up For the Anarchist Rally
“The friction among three mismatched college roommates is set forth in hilarious fashion in Andrew Ritchie’s production. The fun of the comedy is its insight, which occurs to all the characters from time to time, that you don’t have to abandon sympathy to enjoy a sense of absurdity…it’s both young and grown-up” - Liz Nicholls, Edmonton Journal (Read the full review here)
“it seemed to be quintessentially ‘Nextfest-y.’ …It’s the undergrad experience, I feel like the heart and the biggest passion in Nextfest comes from the people in their 20s: people who are in the middle of degrees or just graduating. It’s about being 20 and being in fucked-up crazy places, and being so passionate about something and not even knowing why.” - Vue Weekly (Read the full preview here)
”They talk about what is important for young people – pursing your artistic or sexual or political passion and you’re so full of passion and energy and where do you take that? And finding that direction when you are the most directionless. It’s a very human thing about finding your own path and pursuing what you love. That doesn’t age and go away.” - Jenna Marynowski, After the House Lights (Read the full preview here)
“No One Showed Up At The Anarchist Rally, directed by Andrew Ritchie is one rediscovery…her comedy of undergraduate angst introduces us to three college roommates, surrounded by an undiminishing stack of dirty dishes” - Liz Nicholls, Edmonton Journal (Read the full preview here)
Found Festival
Preview about the Found Festival 2015 - Liz Nicholls, Edmonton Journal (Read the full interview here)
The Falstaff Project
"What I especially liked about Ritchie’s production, an affair of great comic zest and invention, is that Kuefler’s Prince Hal deftly avoids the role’s queasy potential underpinning of manipulation and calculation" - Liz Nicholls, Edmonton Journal (Read the full review here)
"A great show you can enjoy with a beer in hand. The integration of video in the form of news broadcasts which work surprisingly well in Shakespearean prose was a really creative use of multimedia" - Jenna Marynowski, After the House Lights (Read the full review here)
“An immersive theatre experience that is a good one to start with” - Louise Mallory, Ephemeral Pleasures (Read the full review here)
“one of the last performances in the space… The Artery is the perfect bar for this play… it has so much spirit and soul in the nooks and crannies” - Jenna Marynowski, After the House Lights (Read the full preview here)
“navigating unexpected situations is part of the challenge and the fun for Thou Art Here. Blocking is loose, and in the tradition of early Shakespeare performances, there is room for improv.” - Josh Greschner, The Gateway (Read the full preview here)
Much Ado About Nothing at Rutherford House
"intelligible user-friendly Shakespeare…a rollicking good time" - Liz Nicholls, Edmonton Journal 2014 (Read the full review here)
"That's how Shakespeare should be performed" - Jenna Marynowski, After the House Lights 2014 (Read the full review here)
“There’s an intimacy in one-on-one, face-to-face experiences..Audiences react really strongly. It’s how I always envisioned Shakespeare; he’s not as poncey as people think. He’s down and dirty and fun!” - Liz Nicholls, Edmonton Journal 2015 (Read the full preview here)
“Back by popular demand…Much Ado really marries to the space at the Rutherford House so perfectly” - Mel Priestley, Vue Weekly 2015 (Read the full preview here)
“Thou Art Here offers a new way to experience Shakespeare…it’s unlikely you’ll think of Shakespeare as stuffy or impenetrable by the end.” - Lisa Szabo, The Gateway 2015 (Read the full preview here)
“Thou Art Here makes Shakespeare’s work accessible and totally engaging” - Jenna Marynowski, After the House Lights 2015 (Read the full preview here)
“Thanks to a bright cast and thoughtful directing, Much Ado through Thou Art Here’s lens is truly funny - and not just in the polite nature you’d expect from a Shakespeare” - Kate Black, Vue Weekly 2015 (Read the full review here)
“This was fun. It was an easy play for me to enjoy because this one had the sharp-tongued woman” - Louise Mallory, Ephemeral Pleasures 2015 (Read the full review here)
“Ritchie’s direction is inventive and uses the space to great effect…it is a lively vibrant rendition of a classic play” - Mel Priestley, Vue Weekly 2014 (Read the full review here)
"[The actors] have to be honest. There’s no invisible fourth wall, there’s no lights. There’s no hiding anything. You really have to expose your raw emotion" - Kathleen Bell, Vue Weekly 2014 (Read the full review here)
The Boogie Monster Club
“An example of a story that delves into immigration and friendship. “I think physically there’s an idea that you have to face your fear and you can do that with your friends.” - Vue Weekly (Read the full preview here)
"Hilarious in her attempts to be scarier and mispronunciations...had me guffawing...I can imagine [the play] would have had a roomful of ten-year olds rolling on the floor and repeating her funny lines and gestures all day. Clever, fun, and a had sweet relevant message” - Louise Mallory, Ephemeral Pleasures (Read the full review here)
Birdie on the Wrong Bus
“Ritchie, a young up-and-comer among directors, took his cast on a nocturnal field trip through Birdie’s route. The theatrical result is a love letter to Edmonton…celebrating the little-known places in Edmonton, the places that aren’t West Edmonton Mall.” - Liz Nicholls, Edmonton Journal (Read the full preview here)
“it’s super important for kids to see things that they can identify with…see a play that’s very similar to their own experiences.” - Vue Weekly (Read the full preview here)
“I want people to see their city with new eyes. It’s a good thing for Edmonton kids to see a show about Edmonton, and go ‘hey! I know that place! “- Liz Nicholls, Edmonton Journal (Read the full preview here)
"A child friendly celebration of Edmonton. This show is a great example of that [children practicing empathy] because all of the places that Birdie goes to are places that kids in Edmonton can go to too" - Jenna Marynowski, After the House Lights (Read the full review here)
KANKER in Heaven Only Knows
"This one-woman clown show will have you guffawing and squirming to the explosive end! All in all is a solid show and definitely not for the squeamish " 3 Stars - Andrew Paul, Vue Weekly
"Steele’s an excellent clown and quickly grows on you….Hilarious gore ensures" 3.5 Stars - Elizabeth Withey, Edmonton Journal
Pushed
"You’re left: dangling on the cusp of atrocity. Pushed is a dark gem. Tension escalates to a nigh-unbearable level, and yet it [Pushed] also manages to simultaneously draw genuine laughter, in spite of (because of?) the ghoulish events.” - Mel Priestly, Vue Weekly (Read the full review here)
“The one restriction I put on myself was that it would all happen in one place, in real time, no breaks…Restrictions make you creative…The play is so scary, so into the dark side…my family thinks I must be depressed, or crazy.” - Liz Nicholls, Edmonton Journal (Read the full preview here)
Crazyface
“the whole show exudes a carnivalesque feel…a laugh-out-loud comedy and the dark horrific nature brings it the forefront. I am positive you will laugh out loud one minute and the next moment cry.” - Anne Borowiecki, St Albert Gazette (Read the full review here)
Listed as a ‘Production to See" by Liz Nicholls - Edmonton Journal (See full list here)
“It’s bloody, fantastical, constantly pushing limits, and taking steps outside the norm….Clown, Circus, Pulcinellas, mask it [Crazyface] draws from all these absurd elements, and brings them together” - University of Alberta Express News
“An ingenious actor-turned director-turned artistic director who hasn’t seen a theatrical expectation he didn’t want to nudge, or tickle, or ignore”
– Liz Nicholls, Edmonton Journal
Andrew is a director, theatre maker, improviser, teacher, and producer born and raised on Treaty 6 territory in Amiskwaciwâskahikan (Edmonton). He has performed and directed across Turtle Island (North America) and his work has ranged from new work, contemporary, classical, improvisational, movement, mask, clown, bouffon, and immersive theatre.
He has a Master of Fine Arts in Directing & Creation from York University, a Bachelor of Arts in Drama & English with Distinction from the University of Alberta, is a graduate of the Citadel/Banff Centre Professional Theatre Program and from University of Calgary’s Rozsa Arts Management Program.
Andrew is a co-founder and artistic director of Thou Art Here Theatre. He has performed improv across North America including being an ensemble member with Rapid Fire Theatre. Currently he is Program Coordinator with Theatre Alberta, an arts-service organization dedicated to the growth and development of the Albertan theatre community.
Previously he was the Sandbox Series Coordinator & Theatre School Director at Globe Theatre in Regina, SK from 2018-20. He is a co-founder of the Common Ground Arts Society's Found Festival, Edmonton's multi-disciplinary found space arts festival and was festival director from 2014-2015. He has ran two other indie theatre companies: Rock Steady Productions (2010-2012) & You Are Here Theatre (2016-2020).
AWARDS
Elizabeth Sterling Haynes Theatre Award (Edmonton) nominee
Betty Mitchell Theatre Award (Calgary) nominee
Edmonton Journal’s Top Five Emerging Artists of 2014.
Recipient of the 2013 PlayWorks Ink Emerging Artist Award.
Recipient of the 2012 Michelle Dias Community Service Award.