Press Quotes and Coverage
"[Intson's] play basically “won the 2019 Fringe”, getting awards for the best new play, and the highest box office gross. Her company was comprised of emerging female artists, breaking into the professional world. For my money, Camille is the real deal, someone who is articulate, with some real insight into the art of live performance."
"Already a published poet, ex-harpist, and Hamilton Music Award-winning singer/songwriter, Intson, 20, is now an accomplished playwright whose works have been produced across the country. She was recently named the winner of a National Playwriting Contest for a show she wrote and developed at the Grand Theatre in London."
"Camille Intson's 10-minute play about four strangers alone on a train is being curated and produced for the Newmarket National Ten-Minute Play Festival... 24 [scripts] were selected [nationally] for production. Road is also being featured in a festival titled About Love, in Vancouver. Eight plays were chosen among 250 submissions from 9 countries."
"Camie’s music is best described as ambient folk, shimmering confessionals sung to a background of gentle guitar, strings and synthesizers. But it’s the lyric imagery that makes these songs special."
"Canadian Indie Folk Singer-Songwriter Camie Releases Tender & Tenacious New EP 'troubadour'." Review by Chloe Crowder, Music Mecca. August 2021.
"Toronto alt folk artist Camie is at her most vulnerable on new EP 'troubadour'", Premiere by Chelsea Brimstin, Indie 88. August 2021.
"troubadour", reviewed by Next Magazine. August 2021.
"Patchface", reviewed by Amanda Cosby-Nesbitt. Steel City Girl Reviews. July 2021.
"Patchface", reviewed by Beyond James. Beyond James. July 2021.
"We All Got Lost", reviewed by Amanda Cosby-Nesbitt. Steel City Girl Reviews. July 2019.
"We All Got Lost - REVIEWER'S PICK", reviewed by Allison M. Jones. View Magazine. July 2019.
"Objects: London, Portrait of a City", reviewed by Aidan Curran. The Western Gazette. March 2019.
"The Last 48", reviewed by Andrew Friesen. CBC News Manitoba. July 2018.
"Marty and Joel and the Edge of Chaos", reviewed and judged by Michael Fox & Jamie Johnston. 2018 Lillian Kroll Prize in Creative Writing. Spring 2018.
"Marty and Joel and the Edge of Chaos", reviewed by Life With More Cowbell. Life With More Cowbell. March 2018.
"The Stock", reviewed by Ben Wiebe. The WInnipeg Free Press. July 2017.
"Antigone", reviewed by Julia Sebastien. Western University A&H Theatre Criticism. March 2017.
"There is masterful physical creation as the cast forms tableaux, set pieces, and various fantasy characters. There are too many beautiful ensemble moments and it is an absolutely captivating group performance. It was difficult to look away from the stage as you are afraid to miss a moment... You would be hard-pressed to find a more professional looking show here at the Fringe this year."
"We are shown here a piece of theatre that sets itself apart. It is a tragic and daring look at storytelling and how, as much as we crave the fantasy, we are still forced to deal with the realities of life. I cannot recommend this enough. Make it fit into your Fringing schedule. It will take your breath away."
"While it might sound more like Orwell's 1984 than NBC's Parks and Recreation, this production makes comedy gold out of its pseudo-dystopic premise... the actors do a commendable job with a tight, and very funny, script. Come for the high-concept premise, stay for the crack comedic timing." ★★★★
"Camille Intson’s one-act play is preoccupied with exploring relationships between past and present, stasis and progression, time and perception, memory and identity. Sparse, often fragmentary lines of dialogue move quickly between Joel and Marty and mark seamless exchanges linking their past to their present. Throughout, the audience is challenged to try and relate what it hears and sees to a traditional, linear narrative, all while wondering about larger questions the play raises concerning the inscrutability of time, the uncertainty of human relationships, and how those concerns inform and intersect with each other in powerful ways."
"The result is that the spectators - at home watching this digital production - become the confidants of these interpersonal relationships, rather than just the telephone operator. Although the technology featured in Patchface is purposefully dated, the relevance of the question at hand in the age of social media is not - how much do we truly know about each other's lives when we can only get a glimpse, or when others choose the information we can absorb?"
"Pretty much this generation’s Joni Mitchell, Toronto-based queer artist Camie’s gift for soulful storytelling while building epically lush compositions is enough to give the most dubious of listeners a case of musical frisson."
"Camie is at her most vulnerable on the new six track collection. Opening with the dynamic, slowly building “odysseus,” you’re sure to be captivated from the get-go. Camie is able to weave in and out of genres with ease while maintaining a sense of cohesion. From the gritty, powerful sounds of “parasite” to the sweet vocal lines on “the rover,” these six tracks really pack an emotional punch."
"With gentle acoustic string patterns and poetic lyrics... you feel as if you're there in the cinematic picture with her.... Camie sets the bar high for lyric writing."
"It's a bit like if the detention in The Breakfast Club just kept going until it curdled into the hell-is-other-people existential nightmare of Jean-Paul Sartre's No Exit. Friendship can be dangerous when the line between intimacy and inspiration becomes blurred... There is enough wordplay, irony, and allusion here to reward multiple viewings." ★★★★
"All in all, Intson's masterful rendition of Antigone was intensely captivating from start to finish, and it was over before I even had time to desire an intermission. Definitely a must-see for theatre-lovers and classics students alike, this play will leave you breathless and motivated to take up a faceless mask and take on Antigone's role for the modern generation.
True to this production's roots in ancient Greece, characters enter the stage in somber procession, holding flickering candles and wearing expressionless white masks... The fluidity with which the Chorus turns from addressing audience members to the cast erodes the boundaries between the two, creating an effect of a shared single consciousness."