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Alaina Viau, Stage Director & Creator

Featured Reviews

  • "Always searching and provocative direction of Alaina Viau"

    WholeNote Magazine
  • "...a compelling, contemporized telling of the story..."

    Ludwig van Toronto
  • "...a welcome choice from Viau, one that made the work feel very new to me..."

Alaina Viau posing in a gold dress with her hand on her hip.

Meet YourDirector

About / ‘əˈbaʊt’

ALAINA VIAU, Director and Creator

Alaina is a daring director, creator and producer based in Toronto. She is the Founder and Executive Artistic Director of indie opera company Loose Tea Music Theatre where she creates “genre defying” productions that center on critical social issues and cross-cultural relationships. Not afraid to break all the rules, she collaborates with DJ's, projection artists, choreographers and filmmakers: The stunning originality of Viau’s vision…grip the imagination.” – Opera Going Toronto.

Alaina is a queer disabled artist seeking a new framework for safe and compassionate creation processes that decolonize and dismantle hierarchical practices. The 19-20 season saw Alaina DORA nominated for Outstanding New Opera and won a Canada Council for the Arts Professional Development Grant to work with Ashlie Corcoran at the Arts Club Theatre in Vancouver. Along with assisting Ashlie on stage, Alana worked to develop a framework for cognitive disabilities in Arts Leaderships and has continued that work with leading disabled artists in other performing arts fields.

Alaina was Resident Director at Toronto City Opera for the 18-19 season, and Artistic Director of Ottawa indie company SOPAC for 2 seasons. She has a background in arts admin, producing and production having previously been the Assistant Production Manager at the Toronto Symphony Orchestra and the Opera and Orchestra Manager at the Royal Conservatory of Music. 

Alaina is a member of Indie Opera Toronto and Loose Tea Music Theatre a member of TAPA, Opera Canada and Opera America. 

Upcoming EventsCalendar

Calendar / ‘kæl.ən.də’

Past ProductionsPortfolio

Portfolio / ‘pɔɹt.ˈfoʊ.li.oʊ’

  • Visual description of image contents

    Dead Reckoning

    Loose Tea Music Theatre

    Dead Reckoning is a new Canadian musical with book and lyrics by Lezlie Wade and music by Scott Christian. It is written for five female actors and focusses on the life of Amelia Earhart and the true story of the teenage girl who received Amelia’s final distress signal. Thematically, Dead Reckoning explores the impact people have on our lives through acts of courage, tenacity and strength. The challenges facing Amelia Earhart as a trailblazer, as well as those faced by Betty Klenck struggling through adolescence to find her unique voice within societal norms, are themes as relevant today as they were then. Full Musical Synopsis: In 1937, fifteen-year-old Betty Klenck is struggling with her sense of identity. Bullied in school for being “different natured from everyone else” she finds solace in the person of Amelia Earhart and the possibilities she offers to the future of young women. When Betty’s mother dies, she sinks into depression. Her father, desperate for a way to help her, sets up a short-wave radio in her room. At night, Betty finds solace imagining the far away voices scrambled with static belong to her mother. When Betty hears Amelia Earhart’s distress signal on the night of her fateful last flight, she persuades her father to alert the authorities. But who will take a 15-year-old girl seriously?

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    Carmen #YesAllWomen

    Loose Tea Music Theatre

    A contemporary new opera scrutinizing the normalization of harassment that women face everyday. In Carmen #YesAllWomen, Loose Tea strives to give the opportunity for Carmen's story to be told through her eyes, as a strong independent woman striving and achieving within a patriarchal society and the dangers that she faces simply for doing that. This piece is based on Bizet’s Carmen with a new libretto and score for two cellos and Sound Artist. Director/Creator’s note: 'Carmen is not my favorite opera. I have always been frustrated by it: the way Carmen and Michaela are treated, the devil versus angel female characters as if we cannot be anything in between, the casual harassment and assault on stage that is treated as “funny” or tragic. It’s neither of these. It’s awful and it happens every day to women you know. This is an epidemic. I have been searching for a way to show this opera for what it is: a perpetuation of misogynistic values. The idea has been evolving for several years and I’m sure as I move through life the idea will continue to grow. This is where the idea is now with the resources I have available to me today. We need to question what values the operatic cannon is espousing. Yes, the music is wonderful, but perhaps we need to be reframing these works that reflect the values we want to see in our communities. I’ve had enough of women and people of colour (POC) being treated poorly on stage, and off. The ideas we put on stage permeate into the real world. It legitimizes the assault that women and POC face in the workplace, on the street, or just going about our daily lives. Art can change that. We need to recognize where this perspective comes from and work to change it.  I hope that in this version on Carmen, you can glimpse what it might feel like to be her or recognize yourself and people you love in her. Because we all are Carmen, in some way.'

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    Singing Only Softly / The Diary of Anne Frank

    Loose Tea Music Theatre

    The World Premier of Singing Only Softly: A new opera by Cecilia Livingston, Monica Pearce and Alaina Viau. Presented with The Diary of Anne Frank by Grigory Frid. Co-commissioned by Loose Tea Music Theatre and Musique 3 Femmes. What version of Anne Frank are you familiar with? Did you know that passages of The Diary of Anne Frank were censored and redacted? Inspired by the original, unedited texts of the diary, Loose Tea Music Theater created Singing Only Softly. This Chamber opera voices Anne Frank as a fully formed young woman describing her experiences while discovering herself. Freshly interpreted in a current female context, it explores Anne's complex self-awareness and self-representation.

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Contact / ‘kɑntækt’


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