Tara McGowan-Ross

Tara McGowan-Ross is an urban Mi’kmaq multidisciplinary artist. She is a graduate of Concordia University’s philosophy program, former creative director and collective member at Spectra Journal, and was briefly an actor. She is currently a featured visual artist at Galérie Hexad and produces poetry and music events independently and with Grand Stand Productions. Her début poetry collection, Girth, was published by Insomniac press in 2016. She lives in Tio’tia:ké (Montréal).



MOST POPULAR ARTICLES
LAST 30 DAYS

LAST 365 DAYS

BWW Review: ALMOST, MAINE at The Harold Greenspoon Auditorium—The Intimacy of WinterBWW Review: ALMOST, MAINE at The Harold Greenspoon Auditorium—The Intimacy of Winter
Posted: Mar. 3, 2019


BWW Review: ELSEWHERE at Centaur Theatre - Classical Mask as Protest TheatreBWW Review: ELSEWHERE at Centaur Theatre - Classical Mask as Protest Theatre
Posted: Feb. 1, 2019


BWW Review: BIRTHMARK at Montreal, Arts Interculturels — Identity, Power, and TraumaBWW Review: BIRTHMARK at Montreal, Arts Interculturels — Identity, Power, and Trauma
Posted: Nov. 6, 2018


BWW Review: I Forgot Your Name: REQUIEM POP at Agora De La DanseBWW Review: I Forgot Your Name: REQUIEM POP at Agora De La Danse
Posted: Apr. 11, 2019


BWW Review: OTHER PEOPLE'S CHILDREN at Centaur Theatre - Care and CarelessnessBWW Review: OTHER PEOPLE'S CHILDREN at Centaur Theatre - Care and Carelessness
Posted: Oct. 28, 2018


BWW Review: BLACKOUT at D. B. ClarkeBWW Review: BLACKOUT at D. B. Clarke
Posted: Feb. 7, 2019


BWW Feature: HEDWIG AND THE ANGRY INCH at Cabaret MadoBWW Feature: HEDWIG AND THE ANGRY INCH at Cabaret Mado
Posted: Nov. 10, 2018


BWW Review: HEDWIG AND THE ANGRY INCH at Café Cléopatra
August 13, 2019

Ladies and gentlemen, whether you like it or not: Hedwig is here to set the record straight on the whole Tommy Gnosis thing. Did you know she wrote all his songs?

BWW Review: I Forgot Your Name: REQUIEM POP at Agora De La Danse
April 11, 2019

REQUIEM POP's deconstruction of many things-Iggy's music, the conventions of dance and storytelling, the boundaries between performer and audience, the use of the space -are the right kinds of envelope-pushing to tick off all the highbrow boxes, while managing the nearly impossible task of not also being boring.

BWW Review: NUMBERS INCREASE AS WE COUNT... at MAI — Not a Performance, but a Protest
March 5, 2019

Since the beginning of the American occupation of Iraq, thousands of women and girls have been lost to human trafficking, abuse, violence, and murder. Ülfet Sevdi brings these forgotten women into visceral awareness.

BWW Review: ALMOST, MAINE at The Harold Greenspoon Auditorium—The Intimacy of Winter
March 3, 2019

Almost, Maine gives us so many different versions of love and intimacy-but which ones melt through this reviewer's cold, dead, winter heart?

BWW Review: BLACKOUT at D. B. Clarke
February 7, 2019

In February of 1969, computer data papers fell like snow on the streets around the Hall Building. 50 years later, some of Montreal's most celebrated theatre artists shed new light on this part of our history.

BWW Review: ELSEWHERE at Centaur Theatre - Classical Mask as Protest Theatre
February 1, 2019

Odd Stumble and Imago collaborate on a work of protest theatre that offers different perspectives against Nicolas Maduro's regime in Venezuela, mounted the day after the country's presidency became heatedly contested.

BWW Feature: HEDWIG AND THE ANGRY INCH at Cabaret Mado
November 10, 2018

In The Wings Productions brings seminal text of LGBTQ+ culture to Montreal's premier drag venue.

BWW Review: BIRTHMARK at Montreal, Arts Interculturels — Identity, Power, and Trauma
November 6, 2018

At once an intimate story of loss and a dark comedy, Birthmark attempts to highlight a pathway to building a productive and healing relationship between the Palestinian and Jewish communities of Canada.

BWW Review: OTHER PEOPLE'S CHILDREN at Centaur Theatre - Care and Carelessness
October 28, 2018

Ilana and Ben aren't adjusting to parenthood the way they hoped they would.