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In this final episode of Stageworthy, host Phil Rickaby talks with theatre and opera director, playwright and educator, Peter Hinton-Davis. In addition to his work work as a director, playwright, and educator, from 2005-2012, he took over as the artistic director of English theatre at Ottawa’s National Arts Centre, shaping how Canada conceptualizes its national theatre. He is currently directing Coal Mine Theatre’s Dion, running until March 3 at Toronto’s Coal Mine Theatre.
Stay tuned to the end of the episode for some thoughts from Phil Rickaby on the ending of Stageworthy.
BioDirector, dramaturg and playwright Peter Hinton-Davis has worked across Canada with many theatre companies. He has been the Associate Artistic Director at Theatre Passe Muraille and the Canadian Stage Company in Toronto, Artistic Director of the Playwrights Theatre Centre in Vancouver, the Dramaturg in Residence at Playwrights' Workshop Montréal, and Artistic Associate of the Stratford Festival. From 2005 to 2012 he was Artistic Director of the National Arts Centre English theatre, where he created a resident English theatre company, with actors from across the country, and programmed the NAC's first season of Canadian plays.
His own plays for the stage include Façade, Urban Voodoo (written with Jim Millan) and a trilogy of three full length plays entitled The Swanne -- George III: The Death of Cupid (2002), Princess Charlotte: The Acts of Venus (2003), and Queen Victoria: The Seduction of Nemesis (2004). Eleven years in the making, all three plays premiered under his direction at the Stratford Festival. In 2006, he co-created with Domini Blythe, and directed the solo work, Fanny Kemble, about the life of the famous British actress and abolitionist.
www.peterhinton.caInstagram: @peterhintondavis
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In this episode, Shifting Ground Collective founding members, Joshua Kilimnick, Shannon Murtagh, and Colette Richardson join me to unpack the story behind their latest production, "Merrily We Roll Along." Their journey reflects not just the highs and lows of the creative process, but also the resilience and enthusiasm needed to bring a classic Stephen Sondheim musical to Canadian audiences, all while nurturing new talents and weathering the storms of the pandemic.
They also discuss the reality of running an indie theater company, balancing day jobs with their artistic aspirations. From the excitement of pub nights where show tunes reign supreme to the challenges of staging ambitious productions, they reveal the collective spirit that powers their endeavours. They also discuss a new musical in development, "Statistics," a production intertwining the personal and the historical, where academic pressure meets the remarkable story of Rosalind Franklin.
BioFounded in the spring of 2022, Shifting Ground Collective is Toronto’s newest home for emerging musical theatre voices. Their work spans developmental processes for new Canadian musicals, concert and cabaret programming, and full-scale productions of beloved musical theatre favourites – all with a focus on spotlighting the next-generation of great Canadian musical theatre talent. Shifting Ground has quickly developed a following and network that has positioned them to shape the future of the Canadian musical theatre sector, and was named one of the top 10 Breakthrough Artists of 2023 by the Toronto Star.
shiftinggroundcollective.comInstagram: @shiftinggroundcollective
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Steven Mayoff (he/him) was born in Montreal, lived in Toronto for 17 years and moved to Prince Edward Island in 2001. His fiction and poetry have appeared in literary journals across Canada, the U. S. and abroad. His books include the story collection Fatted Calf Blues (Turnstone Press, 2009), the novel Our Lady of Steerage (Bunim & Bannigan, 2015), the poetry chapbook Leonard’s Flat (Grey Borders Books, 2018) and the poetry collection Swinging Between Water and Stone (Guernica Editions, 2019) and the novel The Island Gospel According to Samson Grief (Radiant Press, 2023). As a lyricist, he has collaborated with composer Ted Dykstra for many years. Their musical reimagining of Euripides tragedy, The Bacchae, entitled Dion a Rock Opera, will receive its world premiere at the Coal Mine Theatre in February 2024.
www.stevenmayoff.caInstagram: @steven_mayoff
Tickets and Info, Dion: a Rock Opera: www.coalminetheatre.com/dion
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This week, as we count down the final episode of Stageworthy, host Phil Rickaby talks with the passionate Emilio Vieira, who takes on the role of Palamon in Shakespeare BASH'd unique production of "Two Noble Kinsmen." Together, we explore the thrills and challenges of performing one of the Bard's less frequently staged plays. Emilio reveals the intricacies of making Shakespeare's language resonate with contemporary audiences and discusses the emotional highs and lows his character endures in this tale of honour and forbidden desire.
Embark on a behind-the-scenes journey with me as we examine the craft of adapting Shakespeare for today's audiences. We contrast the festival stage's grandeur with the intimacy of smaller productions and dissect the professional growth that comes from long-term engagement with Shakespearean drama. Moreover, the conversation turns to survival—both of the actor during an arduous theatre season and the creative spirit during the pandemic. We shed light on the birth of the SuddenSpark Collective and its aspirations, offering an inspiring look at the resilience and creativity of theatre professionals in unprecedented times.
BioEmilio Vieira is an actor/ creator currently working on Shakespeare BASH'd's Two Noble Kinsmen, playing at the Theatre Centre from January 25 to Feb 4, 2024. Emilio is about to embark on his 7th season with the Stratford Festival playing Antonio in Twelfth Night, Tybalt in Romeo and Juliet and Richard Dazzle in London Assurance. Other credits include: Richard II, Grand Magic, Richard III, The Miser, Coriolanus, The Tempest, Napoli Milionaria!, Tartuffe, Macbeth, All My Sons, Bunny (Stratford Festival); The Three Musketeers (RMTC); Towards Youth: a play on Radical Hope (Crow's Theatre); Tartuffe, Measure for Measure, Much Ado About Nothing, As You Like It, Titus Andronicus (Canadian Stage); february: a love story (Sudden Spark Collective/Globus Theatre); Cymbeline (Shakespeare BASH'd). Emilio has appeared on HBO's Titans and some indie projects you haven't seen. He continues to voraciously audition for film and television without much success. During the pandemic, Emilio, and his creative collaborator Ellen Denny launched Sudden Spark Collective, a company aimed at producing heartwarming stories as soup for the pandemic soul. Their two projects, february: a love story, and Above Ground Floor had successful digital debuts with great acclaim. Both went on to stream with Stratfest@Home, garnering international attention and meriting them an interview with Tom Power on CBC's Q. Emilio is a proud graduate of York University's Acting Conservatory and studied under the direction of Martha Henry and Stephen Ouimette at the Birmingham Conservatory for Classical Theatre.
He loves dogs, hugs, mint chocolate and cricket!
Instagram: @emiliovieira
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In this episode, Phil Rickaby talks with the outstanding Deborah Drakeford and unpacking the Canadian premiere of Joanna Murray-Smith's "Rockabye." From the first costume fitting that sets the stage for character metamorphosis to the electric anticipation of performing an original rock anthem, this episode is a tribute to the craft. The camaraderie within the Actors Repertory Company, nurtured by director Rob Kempson is palpable as Deborah recounts the collective effort in breathing life into "Rockabye." This is a toast to the ensemble's magic and her own evolution as resident artist and co-artistic producer with ARC.
The conversation also turns to the resilience of actors amid the pandemic, sharing her own tussle with COVID-19 that brought unexpected twists to a production in Sudbury. The episode wraps with a heartwarming glimpse into the enduring marriage Deborah and her husband Oliver Dennis, as they juggle the scales of professional ambition with the weight of family life. Their story is a masterclass in harmony, a dance of mutual support and understanding that keeps the show going, long after the applause fades.
BioDeborah Drakeford is a proud member of ARC, having been a Resident Artist for the past 18 years. Deb assumed the role of Co-Artistic Producer of ARC in July 2020. She has performed in many ARC shows, including A Kind of Alaska, The City, Bea, Moment, Pomona, Human Animals, Oil, Gloria, Martyr and upcoming, Rockabye.
Deb has been lucky enough to work across Canada from BC to PEI.
Other fun credits include Redbone Coonhound (Tarragon Theatre), Doubt (BNE Productions), Shirley Valentine (Thousand Islands Playhouse and Capitol Theatre), The Penelopiad and The Importance of Being Earnest (Grand Theatre), Portia’s Julius Caesar (Shakespeare in the Ruff), Innocence Lost, Great Expectations, Waiting for the Parade and A Christmas Carol (among others) (Soulpepper), Hedda Noir (Theatre Northwest) Rabbit Hole, Same Time Last Year and The Curious Incident of the Dog in the Nighttime (Sudbury Theatre Centre). Deb has been Dora nominated 11 times (individual and ensemble).
She has also done tv, film, and voice, most recently appearing in HBO’s Station Eleven and recording the audiobook The Stone Diaries by Carol Shields.
Deb holds a BEd and teaches for YPT, Soulpepper and for the TDSB. She makes her home in Toronto with her lovely husband, actor Oliver Dennis, and their two amazing kids, Charlotte and Philip.
arcstage.comInstagram: @arcstage
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To kick off 2024, Stageworthy host Phil Rickaby convenes a round table discussion of Fringe Festival performers. The months of November and December are when a lot of the festivals on the Canadian Fringe circuit hold their lotteries, and so a lot of performers are planning out their summer touring schedules. In this round table discussion, Phil is joined by Keith Brown, Jess Gorman, Tim Murphy, Sarah Ivanco, Kendall Savage, Georgia Findlay, and Evan Bawtinheimer. These performers share the shows that they will be bringing to Fringe festivals this summer, seasoned touring artists share secrets and tips with artists newer to Fringe touring, and everyone talks frankly about the trials and triumphs of the Fringe experience, spotlighting the excitement and nerves that accompany taking a show on the road. From the logistics of coordinating tours between Montreal and Ottawa to the strategic planning necessary for North America's largest fringe in Edmonton, our guests reveal the behind-the-scenes efforts that fuel their passion for performance. So, whether you're a theatre enthusiast or an aspiring artist, this episode offers a front-row seat to the dreams, doubts, and determination that shape the exhilarating world of Fringe Festivals.
Keith Brownwww.absolutemagic.caInstagram: @keithhbrown
Jess GormanInstagram: @jra.gorman
Tim MurphyTwitter: @timcmurphy
Sarah IvancoTwitter: @IvancoSarah
Kendall Savagewww.kendallsavageclown.comInstagram: @kendall_savage_clown
Georgia FindlayInstagram: @_georgiathejungle
Evan BawtinheimerTwitter: @MrEvanRussell
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What does it take to script an audio drama that keeps the audience on the edge of their seats? What goes into creating compelling characters and casting the perfect voice actors? Join us as we unravel these fascinating aspects of audio drama with our guests Kevin Shea and Jill Harper, creators of the successful project, Feedback. They share with us not just their creative process and the challenges they face, but also their dislikes and likes about traditional radio dramas.
Have you ever wondered how the world of customer service operates or what causes customer rage? We're diving into these topics too, unearthing the tactics deployed by call centers to hinder customer goals and sharing personal anecdotes about our own experiences. Plus, we'll be talking about our audio drama project, from its inception in a humble basement to a full-fledged production. Our conversation with Kevin and Jill continues as they share their journey of creating the character Akbar and the nuances of casting for an audio drama.
Finally, we delve into our guests' personal journeys and their love for theatre and filmmaking. Kevin and Jill share their childhood experiences that shaped their passion for storytelling and discuss the role of imagination in their work. They reflect on making audiences laugh and the joy that brings them. If you've ever been curious about the world of audio dramas or the joy of creating something that truly engages and entertains - this episode is for you. Tune in and take a peek behind the scenes of this exciting medium.
BioKevin Shea wrote the fiction podcast "Feedback: a comedy of impeccable service," the experimental play "Consumption Patterns," and, with Wade Bogert-O'Brien and Scott Christian, the musicals "Hero & Leander," "A Misfortune," and "Teresa." He is Editor-in-Chief of The Kevin, which publishes sporadic essays on arts and culture.
thekevin.substack.comTwitter: @sheakmInstagram: @sheakm
Read Kevin's essay about writing Feedback: https://thekevin.substack.com/p/on-feedback
Jill Harper is an award-winning theatre director and dramaturg, and the co-founder of Cue6 Theatre. Selected directing credits: Cue6 Theatre’s "Dry Land" (Globe and Mail’s Top 10 Theatre shows of 2018); "pool (no water)" (Dora Awards for Outstanding Direction and Outstanding Performance – Ensemble); and "Byhalia, Mississippi" (as a part of a 7 city World Premiere Conversation); "Detroit" (Coal Mine Theatre) "White Heat" (English Theatre Berlin); "Consumption Patterns" (Next Stage Theatre Festival); "Meet Cute" (Roseneath Theatre) – Dora nomination for Outstanding Direction; "Hazardous Materials" (Equity Library Theatre Chicago); In fall 2023 Jill and Cue6 released the narrative podcast "Feedback" by Kevin Shea which reached #5 on Apple podcasts' Fiction podcasts chart
www.cue6.caInstagram: @cue6theatre
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In this episode, host Phil Rickaby, talks with Sex T-Rex member, Lowen Morrow. Together, we explore everything from the dynamic theatre scene in Canada to the origins of D&D live shows, the joys and challenges of self-promotion in the entertainment industry, and much more.
Lowen gives us insight into Sex T-Rex's hit show Swordplay, discussing its physical comedy and evolution over time. Later, we explore the origins of D&D live. Also in the discussion we explore the evolving role of gender identity in their performances, and hear their thoughts on working in a theatre troupe over a long period of time, and how that can be like being part of a family, with all that that entails
Don't miss out on the latter part of the episode where we discuss the fascinating world of puppetry and producing in the film and TV industry. It's a jam-packed episode you wouldn't want to miss!
BioLowen Morrow is a trans masculine theatre and filmmaker, physical comedian, actor, improviser, and puppeteer based in Toronto. They are a core member of comedy company Sex T-Rex: winners of over two dozen awards including 2x Just for Laughs' Best Comedy and Second City's Outstanding Comedy awards. Lowen has toured Canada, the US and parts of China with Mermaid Theatre and was awarded the Honourary My Theatre Award for excellence in puppetry. Recently they played the titular character in Tarragon Theatre’s Orphan Song, workshopped a new production of Pinocchio with Bad New Days, and were featured in Featured Creatures’ upcoming film, Dead Lover set to debut next year. Currently they are producing and performing in Swordplay a play of Swords with Sex T-Rex and directing an improvised show for young audiences with Bad Dog Theatre called Captain Galactic as part of Bad Dog's Comedy on Queen Festival. Coming up they will be co-producing and curating Blockbuster Week- an improvised comedy festival with Bad Dog Theatre and are about to enter pre-production for their short film, Mothballs.
sextrexcomedy.comTwitter: @lowenmorrowInstagram: @lowenmorrow
Tickets to Swordplay: https://www.eventbrite.ca/e/swordplay-a-play-of-swords-at-comedy-on-queen-street-tickets-751784566877
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Get ready for a holiday treat! This week, host Phil Rickaby chats with Katie Kerr and Matthew Stodolak, as they share the behind-the-scenes details of their new holiday musical, "Chris, Mrs.", a delightful fusion of elements from The Santa Clause and The Sound of Music. We also discuss their unique musical backgrounds and how their differences complement each other perfectly in creating a heartwarming musical experience.
Venture with us as we examine the journey of creating a new Christmas musical in the era of COVID. We highlight the importance of human connection and family traditions during the holiday season and how the pandemic inspired the focus of our musical. Discover how the limited number of original Christmas musicals opened up an opportunity for us to contribute to new holiday traditions. We also share our personal experiences with theatre and Christmas, including our sources of inspiration for the songs in the musical.
The final part of our conversation provides insights into the business side of theatre production, which is often overlooked. Our guests share their experiences with fundraising, balancing creativity with business, and the challenges they faced along the way. We also talk about their collaborative journey in adapting the novel "Extremely Loud and Incredibly Close" into a musical, highlighting the importance of audience engagement and maintaining the dramatic force of the show. Tune in for a captivating look into the creative and business aspects of theatre production, and get ready to be swept away by the holiday spirit!
BioKatie Kerr is the Program Manager for the inaugural season of The Nation Centre of New Musicals at Theatre Aquarius. She is also a producer of Boldly Productions. Her professional theatre career spans over a decade, performing in theatres from coast to coast. Theatre credits include: 8 seasons at the Charlottetown Festival, The Grand, Drayton Entertainment, Theatre Aquarius, and Western Canada Theatre. From staples like Anne of Green Gables to new works like Come From Away, Katie continues to make her mark on Canadian music theatre with the world premiere of Chris, Mrs. She has her degree from Sheridan College and has been active as a writer and director for years.
As a musician, Matthew Stodolak has been active as the Music Director at Canada’s Wonderland and a keyboard player for a number of productions at Drayton Entertainment and Theatre Aquarius. He is a Producer at Boldly Productions, and the Founder Boldly Media marketing agency. Prior to this he was the Digital Marketing Manager of the Toronto Star and currently is a Professor of Marketing at Seneca College. He holds a Masters of Teaching from the University of Toronto and Bachelor of Music from McMaster University. He currently sits on the University of Toronto Alumni Association Board of Directors.
www.chrismrs.comInstagram: @chrismrsmusical
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Join host Phil Rickaby as he talks with the playwright of Sweeter, Alicia Richardson and Assistant Director Amaka Umeh who enlighten us on the creative process behind the play. Set in 1887 Florida, this magical and surreal tale of a talking mango tree and a 7-year-old black girl tackles themes of black womanhood and growing up black. The origins of Sweeter trace back to an ambitious exercise where Alicia penned seven plays in seven days, with many forming the foundation for her other work, Articulation.
We also talk about Amaka's journey to joining the production as assistant director, and the thrill and challenge of bringing a theatre production to life. From a short piece to a full-scale production, the evolution of a play is indeed a labor of love. The value of versatility and embracing multiple passions in the theatre world are also discussed. Our conversation takes an intriguing turn as we explore the art of creating distinct character voices in a new play, and the significance of representation and diversity in theatre. Hear how theatre provides a platform for young children of colour to explore their identities and see themselves represented on stage.
Finally, Alicia and Amaka share their journeys in the theatre world. Amaka shares her passion for movement, and Alicia, her interest in voice training and dialect coaching. They also discuss the importance of storytelling and representation in the theatre world, especially for Black individuals. Hear about the Alicia and Amaka's early encounters with theatre, the power of storytelling in shaping our identities, and the role of education in promoting diversity and inclusivity in theatre.
BioAlicia Richardson is an African-American actor/writer and voice coach originally from Boynton Beach, Florida. She came to Canada for the affordable tuition, then she got health care and figured…why fight it? Now she’s a Permanent Resident livin’ that sweet (but sometimes sour) artist’s life in Toronto. Her body of work spans television, film, theatre, and voice-over. Alicia is PUMPED to have the world premiere of her Theatre for Young Audiences play, Sweeter, a co-pro from Cahoots Theatre and Roseneath Theatre slated for production in December 2023 in Toronto.
Instagram: @leesheelovesyou
Amaka Umeh is an award-winning English theatre performing artist of Nigerian descent who enjoys puns, sweets, and adventures. A graduate of the Musical Theatre Performance Program at the Randolph Academy for Performing Arts, she explores the provocative, liberatory, and transformative powers of investigating truth through imagination and pretense while wrestling with the limitations of the spoken word as a vehicle for communication and understanding. Their work has been generously recognized with a Dora Mavor Moore Award, a Toronto Theatre Critics Association Award, and two MyEntertainmentWorld Critics’ Pick Award nominations.
Instagram: @yesamaka
Tickets and Info for Sweeter: https://www.cahoots.ca/production/sweeter
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From an early encounter with a circus camp as a child, Emily Hughes delved into the world of theatre and circus, fusing both worlds in her performances and creations. As an introverted artist with an electrifying presence on stage, Emily tells us about her upcoming solo performance, Goodbye Esther, a production that brilliantly captures complex emotions associated with mortality. We get close and personal, exploring the roots of this enchanting play and how Emily has navigated the exhilarating yet daunting world of solo performance.
Emily's story is not just about her. It's about the compelling fusion of circus and theatre, and how this marriage of disciplines has culminated in her solo show. This episode is an exciting journey through the world of multidisciplinary art, where reality seems to merge with magic, embracing the weird and the unique. We also discuss the liberating world of clowning and its transformative impact, offering an escape into a realm filled with laughter and freedom.
As we move deeper into the world of theatre, we discuss the challenging balance between production and performance, particularly as artists age. Emily, a circus performer on the verge of turning 40, shares her insight on this matter, defying ageist norms and emphasizing the importance of diversity and opportunities for all artists, regardless of age. Additionally, we shed light on the creative process of crafting a theatrical production. We dive into how audience feedback shapes a show, and the delicate balance between artist intention and viewer interpretation. Join us as we uncover the power of empathy in art and its ability to create a powerful, visceral experience for the audience.
BioEmily Hughes is a multidisciplinary artist/creator using circus as a physical language to communicate through theatre, film, dance and installation. She is a classically trained actor, Pochinko clown, baby hand balancer, and has been performing as a professional aerialist for over 20 years. Parallel and intersecting with her solo work, she is also the co-Artistic Director of Hercinia Arts Collective, a non-profit performance company dedicated to collaboratively created circus through a multidisciplinary lens.
www.emilyhughes.caInstagram: @inverted.traveller
Goodbye, Esther: https://www.emilyhughes.ca/projects/goodbye-esther
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Join us as we journey into the realm of theatre with our guests, Christine and Tara, known for their captivating portrayal of Cinderella's Stepsisters. Listen as they share the fascinating inception of their theatre piece, from a casual suggestion by Christine's partner, Ian, to the full-fledged, unique production it is today. Get a sneak peek into the process of creating their otherworldly costumes, described as a "mobile set in and of itself", and discover the backstory of the Stepsisters that breathes life into their performance.
Immerse yourself in the challenges and triumphs of transitioning from fringe to large-scale theatre productions. Christine and Tara share their experiences of developing their characters and the evolving dynamics of their roles. Discover the crucial role of imagery in theatre, particularly how it captures audience attention, and the differences they've experienced working with larger teams and funding.
Lastly, we talk about their mentoring experiences in the French theatre circuit and their exciting new project, the Lost Sock Rescue Society. This innovative project aims to challenge our culture's bias against unmatched socks by creating an immersive and interactive experience. Plus, get a glimpse of their upcoming play, the Stepsisters, and their aspirations for its future. Tune in for a rollercoaster of emotions, a dash of humour, and a healthy dose of inspiration.
BioChristine Lesiak is an Edmonton / amiskwacîwâskahikan-based theatre artist, teacher, director, and artistic director of Small Matters Productions. She holds a BSc in Physics, and a Masters of Fine Arts in Drama. She specializes in integrated & collaborative creation, audience experience design, interactive comedy, and physical storytelling. She is co-creator of and performer in Small Matters’ nine full-length shows, including the interactive comedy hit, “For Science!” (2018-23), she premiered her new show “The Space Between Stars”, a radical adaption of “The Little Prince” in February 2023. “The Spinsters” premières November 2023 at the Shadbolt Centre for the Arts in Burnaby B.C. She is a frequent collaborator with the Edmonton-based companies Catch the Keys Productions, artistic associate with Toy Guns Dance Theatre, and director of the Play the Fool Festival of clown-theatre and physical comedy.
smallmatters.caInstagram: @smallmattersp
Tara Travis is an Actor, Voice Actor and Puppeteer known largely for her work on stage, notably solo works Til Death: The Six Wives of Henry VIII, Who Killed Gertrude Crump? (with Monster Theatre) The Unfortunate Ruth, and Searching for Dick: A Paranormal Comedy. Voice actor on comedy podcast Phantom Signal, narrator of numerous audiobooks, and voice maker for video games, animation, web series and YouTube-ey things galore. She wiggles dollies, and likes to make art.
www.taratravis.comInstagram: @taratravisartist
The Spinsters dates and tickets: https://smallmatters.ca/shows/the-spinsters/
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Ever wondered about the journey of a play from its birth to the stage? Join us as we chat with Stephen Near and Aaron Joel Craig from Same Boat Theatre about their play, Whale Fall. Listen to their insights on the evolution of Whale Fall, from its inception to performances at Hamilton Fringe and then Vancouver Fringe. Discover the story behind their Critics Pick Award and the successful Kickstarter campaign that propelled their show to Vancouver. Get a glimpse into the emotional response Whale Fall elicited from audiences and the team's thoughts on its future.
Fasten your seat belts as we journey with Stephen and Aaron to their Vancouver Fringe Festival experience. Hear firsthand about their adventures as a performing duo on a fringe that's not home and how it exposed them to new ideas and performers. Tag along as they explore Vancouver and the thrill they felt in discovering they've nailed the city's details in their play.
As we wrap up, prepare for an enlightening discussion on the insights they've gathered from performing their play, the significance of feedback, and how their bond has shaped Whale Fall. Learn how Vancouver has influenced their play and how sound is used as a tool to connect with audiences. Lastly, we reflect on Whale Fall's themes and its transformation into a cautionary tale. This episode offers a captivating journey of creativity, teamwork, and transformation that promises to leave you inspired.Bio, and socials go here
BioStephen Near is a writer and educator living in Hamilton. He is a graduate of York University (BFA), the Ontario Institute for Studies in Education (B. Ed) and the MFA Creative Writing program at the University of Guelph. Stephen is a member of the Playwright’s Guild of Canada and an alumnus of both the Sage Hill Writing Experience and the Banff Centre. Last year, he was named the inaugural Writer-In-Residence for the Cotton Factory in Hamilton. His writing has appeared in a variety of online and print publications and his plays have been produced at a variety theatres and festivals, principally by the company that he co-founded, Same Boat Theatre. He is a proud husband, father and unabashed geek who is (still) obsessed with comic books and role-playing games.stephennear.comTwitter: @SNear23Instagram: @stephenisnear
Aaron Joel Craig (he/him) is a director, dramaturge, designer and performer. His passion for developing new work with artists in Hamilton led to the founding of Same Boat Theatre, alongside playwright Stephen Near. His theatre work focuses on questions of identity, power and how to stay hopeful in a difficult world. Some past projects include Test, Your Own Sons and The Conspiracy of Michael, all with Same Boat, and Henry the Fifth and Waiting for Godot for Redeemer University. He recently completed work on a masters degree at Wycliffe College/University of Toronto, exploring the intersections of spirituality and the arts.. You can find more about that work @saltcellararts. He lives in Hamilton’s East End with his partner, Cath, their two kids, and his probably-too-big record collection.
Instagram: @aaronjoelcraig
Tickets to Whale Fall at the Red Sandcastle: https://www.ticketscene.ca/series/1137/
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This week, we're talking to actor and director, Tatum Lee. Brace yourself as we plunge into the making of The Drowning Girls, her spine-chilling production at Toronto's Red Sandcastle Theatre. A tale of horror, a timeless exploration of societal issues, and a love letter to the stage, this episode unravels the layers of creativity, challenge, and passion that went into the staging of this eerie play. Tatum's childhood fascination with Margaret Hamilton's Wicked Witch of the West and how it fuels her love for the horror genre make for an intriguing discussion you won't want to miss.
But the drama doesn't stop there. Join us as we contrast her experience directing The Drowning Girls with The Elephant Man, two riveting productions with starkly different challenges. Discover the importance of dialogue, the dynamics of actor-director relationships, and the delicate art of handling heavy themes from a director's point of view. Tatum's insight into theatre as a mirror to society, and a tool to evoke emotion and address difficult themes, is both enlightening and inspiring.
Lastly, we journey into Tatum's acting world. Drawing from her experience in the movie IT and her memories of Tim Curry's mini-series, Tatum shares her perspective on acting and its power. Hear about her reprisal of the Wicked Witch of the West in a lost episode of Sesame Street and how her idol, Margaret Hamilton, continues to inspire her. This episode, filled with compelling discussions on theatre, horror, and the transformative power of storytelling, is a masterclass in the art of stagecraft. Buckle up for a fascinating exploration that will leave you spellbound.Bio, and socials go here
www.wrentheater.comInstagram: @tatumlee77
Tickets to The Drowning Girls at Red Sandcastle: https://wren-theatre.ticketleap.com/the-drowning-girls/dates
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Have you ever wondered how a novel can transform into a theatrical masterpiece? Queer writer, performer, and director, Megan Greeley, joins us to share her fascinating journey of adapting her novel, Jawbone, into a play. We uncover the layers of a young girl navigating platonic and romantic feelings in the absence of queer representation, and challenge the societal taboos around male bonding and physical affection.
We then move on to examine the exhaustion and solitude that comes with writing a solo show and the celebration of rediscovering the supportive theatre community. Megan draws upon her theatre background to breathe life into her narratives, reminding us of the power of storytelling and performance. We also delve into her experiences with the TNL Youth theatre program and how it revealed a creative dimension within her that she hadn't previously explored.
In the final segment, we explore the realities of pursuing a career in the performing arts, looking at the highs, the lows, and everything in between. From economic constraints to the priceless support of her parents, Megan reflects on how these factors have influenced her journey. We highlight the significant role of Ruth Lawrence in the Newfoundland theatre scene and Megan's career, discussing mentorship, career progression, and the art of infusing humour into darker subject matter. Join us for a refreshing conversation that bridges theatre, storytelling, and queer identity.
BioMeghan Greeley is a queer writer, editor, performer, and director originally from Corner Brook, NL. Her poetry, prose, and scripts have been published in The Stockholm Review of Literature, Ephemera, Metatron's ÖMËGÄ project, Riddle Fence, Humber Mouths 2, The Breakwater Book of Contemporary Newfoundland Drama (Vol. 1), and the Playwrights Canada Press anthology Long Story Short. As a playwright, she was a 2016 nominee for the RBC Tarragon Emerging Playwrights Prize and was later a resident of both the Tarragon Playwrights Unit and Nightwood Theatre’s Write from the Hip program. Her stage plays have been produced across Canada. Her play Hunger, published by Breakwater Books, was shortlisted for the BMO Winterset Award. Her short novel Jawbone is forthcoming from Radiant Press in Fall 2023. She is currently the Artistic Director of White Rooster Theatre.
Twitter: @meghangreeleyInstagram: @meghan_greeley
Jawbone: https://radiantpress.ca/shop/p/jawbone
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Step into the spotlight with Grumms, a queer, transgender artist, as we traverse the stages of the Edinburgh Fringe Festival and navigate the world of theatre and performance. Join us on a journey that's as captivating as it is insightful. Grums pulls back the curtain on their award-winning season at the festival and shares the emotional roller coaster that is the month-long experience. They illuminate the mental toll and the comparative nature of the festival, offering a glimpse into a performer's psyche during what's considered the most competitive of the Fringe Circuits.
We then pivot our spotlight to the importance of queer stories and how comedy can be an influential tool for expressing significant themes and messages. Grums expounds on their play, 'Scum & Manifesto', and how it strives to challenge the gender binary and empower its audience. As we delve deeper into the conversation, we also touch on the rise of anti-trans and anti-queer rhetoric, emphasizing the crucial need for representation and understanding in our current socio-political climate.
Our compelling chat doesn't stop there. Grums opens up about their personal journey, from understanding their gender identity to coming out as trans. They share intimate details about their 'found family' from the fringe tour and the solace they found within these relationships. We also discuss the necessity to educate children on gender diversity, challenging traditional 'sex ed' narratives. So, get ready for an engaging conversation that explores theatre, queer stories, and the power of self-identity. All the world's a stage, and we invite you to share ours in this episode.
BioGrumms (they/them) is a queer, transgender theatre artist from Treaty 6 Territory. Over the past decade, Grumms has created a body of original queer work and toured it around the world, including across Canada, US, UK, Europe, and Australia. They are the co-creator of SCUM: a manifesto, Girl in the Box, Pack Animals, and Creepy Boys. With Something in the Water, Grumms has toured around the world performing to queer audiences young and old. Grumms is the recipient of the 2022 RBC Outstanding Award in recognition for their contribution to the queer and trans community across Saskatchewan. Outside of self-creation, Grumms also works as a director, puppeteer, and video artist. Next up, Grumms is writing a new TYA puppet musical in collaboration with indie music icon, Rae Spoon, premiering and touring across the prairies in early 2024.
www.scantilygladtheatre.comTwitter: @scantilygladskInstagram: @scantilygladsk
Something in the Water at Next Stage: https://fringetoronto.com/next-stage/show/something-water
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Ever wondered about the hidden journey a joke takes before it lands with roaring laughter? Join us, as we, together with our exceptional guest liza paul, peel back the curtain on the world of Canadian comedy - an art form celebrated as a societal equalizer yet struggling against underfunding. We delve into the grit and dedication it takes for a comedian to craft a joke, ensuring it not only elicits a laugh but resonates with audiences far and wide.
Thriving in the world of performing arts is no easy feat, a truth we uncover as we draw intriguing parallels between the theatre and stand-up comedy. Liza enlightens us about the ephemeral nature of these arts, and the fascinating process comedians undertake – rehearsing, refining, and reworking a joke until it achieves its full comedic potential. This process mirrors the artistry in theatre, where resources are meticulously combined to create something truly captivating.
We also discuss Liza's inspiring journey from Associate Producer at Soulpepper, to the Curator and Manager at Theatre Centre Cafe Bar to an Associate Artistic Director at the Theatre Centre, underscoring the significance of creating inviting spaces and adapting creatively during challenging times like the current pandemic. We also highlight the upcoming Comedy is Art Festival at The Theatre Centre. So, come along on this riveting journey that takes you behind the scenes - into the heart and soul of art, laughter, and authentic human connection.
Bioliza paul is a storyteller, comedian, curator and producer who loves laughter, life, music, family, stories, all things bashment, impromptu dancehall-flavoured a cappella street jams, and pum-related non sequiturs. she has trained at the second city (improv conservatory + 2017 bob curry fellowship program) and is the co-creator of pomme is french for apple (best of fringe 2012, toronto), which has also played in winnipeg, edinburgh, and new york city. She has worked with Soulpepper theatre company, anitafrika! dub theatre, bCurrent theatre, and the watah theatre, and is Associate Artistic Director at The Theatre Centre.
Comedy is Art tickets: https://theatrecentre.org/event/comedy-is-art-2023/
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Join us on this rich and provocative journey as we unravel the intricacies of the Toronto theatre scene with Joshua Chong, a seasoned reporter and performing arts critic from the Toronto Star. Our dialogue takes us into the heart of Toronto’s performing arts world, uncovering how initiatives like ticket deals and special offers are opening doors for diverse audiences. We look at the struggles and triumphs of prominent companies like the Canadian Stage, Soulpepper, National Ballet, and Mirvish in their quest to broaden their appeal and make theatre more accessible.
In this episode we talk about the challenges theatres faced during the pandemic, the decline in subscription audiences, and the pressing need to attract diverse viewers. With the rise in streaming services, we also discuss how to keep theatre relevant and make it a habit for people. We explore the risks and rewards of programming daring works and the need for the stage to reflect the diversity of the audience. Listen in for an enriching discussion on the future of theatre subscriptions, audience engagement, and a whole lot more!
BioJoshua Chong is a Toronto-based general assignment reporter and performing arts critic with the Toronto Star. His work can also be seen in the Globe and Mail, The Whole Note Magazine, The Dance Current, Intermission Magazine and Opera Canada Magazine. Joshua has earned two Youth Journalism International Awards for his criticism and a John H. McDonald Award for his investigative journalism.
Too white, too old, too well-to-do: why Toronto theatre companies need to appeal to broader audiences https://www.thestar.com/entertainment/stage/too-white-too-old-too-well-to-do-why-toronto-theatre-companies-need-to-appeal/article_dee3ddf9-79d5-5b0b-86c1-0017de63b6e3.html
Twitter: @joshualdwchong
Phil's thoughts on the article: https://philrickaby.substack.com/p/toronto-star-too-white-too-old-too
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This week, host Phil Rickaby chats with award-winning playwright, Taylor Marie Graham. We take a thrilling deep dive into the heart of her play, "Corporate Finch," dissecting the complexities of its characters' relationship, the chilling plot within the confines of an abandoned factory, and how a 22-hour writing competition was instrumental in overcoming the writer's block that initially haunted her creation process. Taylor gives us her unique perspective on horror on stage, bringing to light the innovative ways she employed the physical space of the theatre to heighten suspense and tension.
Our discussion takes a fascinating turn as we explore the potential of horror in theatre, drawing from the traditional presentations of horror in the theatre before film took the reins. Taylor shares her insights on how live audience, coupled with light and sound manipulation, can escalate the thrill of the genre. We also delve into the interesting challenge of staying one step ahead of the genre, and the excitement it brings. On a more academic note, we delve into Taylor's theatre course at Western University, where she scrutinizes the history of theatre in Toronto, addressing critical questions of representation and identity.
As we navigate towards the tail end of our conversation, we cast the spotlight on Taylor's doctoral research on the Blythe Festival. We delve into her process of selecting pivotal moments from the theatre's history to focus on and explore the tragedy of plays that have never seen the light of day. Taylor underscores the importance of ensuring the accessibility of these unpublished plays, shedding light on their often overlooked value. We round off our conversation by addressing the evolution of theatre and its potential to challenge audiences, inviting them to revisit and re-imagine their relationship with this age-old art form. We hope you'll join us for this enlightening exploration of Canada's theatre scene, the thrill of horror on stage, and the intriguing intersections of art and academia.
BioTaylor Marie Graham is an award winning playwright, librettist, director, theatre scholar and educator from Cambridge Ontario. She joined me to talk about her play Corporate Finch, which rounds out a summer of performances with a run at IMPACT Fest in Kitchener, Ontario. In this conversation we talk about the unusual origin of Corporate Finch, taking the play to festivals around Ontario, and her how her academic practice and her artistic practice compliment each other. Here’s our conversation.
taylormariegraham.comTwitter: @taylormarie_gInstagram: @taylormarie.graham
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This week Phil Rickaby chats with Patrick Blenkarn and Milton Lim about asses.masses, a unique theatrical experience that sits at the intersection of video game and theatre. This episode promises to uncover the layers of this innovative game-meets-stage play and will leave you questioning your perceptions of traditional theatrical conventions. Expect to be drawn into a world where the audience becomes the performers, engaging in a live, interactive video game that requires the negotiation of power within the story, all while remaining enjoyable to watch for the non-participants.
As we navigate through the mechanics and origin of asses.masses, you will also find yourselves questioning prevalent stereotypes about the humble donkey. Commonly misconceived as stubborn and unsmart, our fascinating exploration of the donkey as a symbol of labor initiates insightful discussions about digital labor and its implications today. Coupled with the intriguing concept of game show mediation and audience involvement, this episode will certainly broaden your understanding of performance art, digital labor, and animal symbolism.
Our discussion extends beyond the boundaries of performance, delving into the debate over video games as an art form. You'll be immersed in the collaborative process of game development and storytelling as we dissect the structure of Asses Masses and its influence from other famous titles. We also reflect on the changing attitudes towards art consumption and its impact on the reception of such innovative works. As we conclude, you'll be left with a deeper appreciation for the intricacies of game development, the symbolism of labor, and the power of audience engagement in redefining performance art.
Patrick Blenkarn is an artist working at the intersection of performance, game design, and visual art. His research-based practice revolves around the themes of language, labour, and economy, with projects ranging in form from video games and card games to stage plays and books. His work and collaborations have been featured in performance festivals, galleries, museums, and film festivals, including the Festival Internacional de Buenos Aires, the Humboldt Forum (Berlin), Festival of Live Digital Art (Kingston), STAGES Festival (Halifax), Banff Centre for the Arts, Risk/Reward (Portland), SummerWorks (Toronto), rEvolver (Vancouver), RISER Projects (Toronto), and the Festival of Recorded Movement (Vancouver). In 2020, he was nominated for Best Projection Design at Toronto’s Dora Awards. In 2022, his work with Milton Lim, asses.masses, received the National Creation Fund from the National Arts Centre of Canada.
Patrick has frequently been an artist in residence at galleries and theatres around the world, including The Arctic Circle (Svalbard), the Spitsbergen Artist Center (Svalbard), GlogauAIR (Berlin), Fonderie Darling (Montreal), Malaspina Printmakers (Vancouver), Skaftfell Center for Visual Art (Iceland), VIVO Media Arts (Vancouver), and The Theatre Centre (Toronto).
Patrick is also the co-founder of and a key archivist for videocan, Canada’s video archive of performance documentation, and one half of Guilty by Association with Cole Lewis. He has a degree in philosophy, theatre, and film from the University of King's College and an MFA from Simon Fraser University.
patrickblenkarn.comInstagram: @patrickblenkarn
Milton Lim (he/him) is a digital media artist, game designer, and performance creator based in Vancouver, Canada: the traditional, unceded, and occupied territories of the Coast Salish peoples of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaɬ (Tsleil-Waututh) Nations.
His research-based practice entwines publicly available data, interactive digital media, and gameful performance to create speculative visions and candid articulations of social capital. This line of inquiry aims to reconsider our repertoires of knowledge aggregation and political intervention in the contemporary context of big data and algorithmic culture. Often cheeky and audience/participant driven, his work challenges standard performance traditions including duration, linearity, and repeatability. Milton holds a BFA (Hons.) in theatre performance and psychology from Simon Fraser University.
He has created works for and performed in various international festivals and venues including PuSh International Performing Arts Festival (Vancouver), CanAsian Dance Festival (Toronto), Carrefour international de théâtre festival (Quebec City), IMPACT Festival (Kitchener), Seattle International Dance Festival, Risk/Reward Festival (Portland), Festival Internacional de Buenos Aires, artsdepot (London), Battersea Arts Centre (London), New Theatre Royal (Portsmouth), Strike a Light Festival (Gloucester), Hong Kong Arts Festival, soft/WALL/studs (Singapore), and Darwin Festival.
Performance credits include The Arts Club’s The Great Leap, Gateway Theatre’s King of the Yees at Canada's National Arts Centre, and Theatre Conspiracy’s award-winning immersive show: Foreign Radical at CanadaHub (Edinburgh Fringe). Milton's media artworks have been presented at the Vancouver Art Gallery, San Francisco State University, F-O-R-M, VIVO Media Arts Centre, and The New Gallery. In 2016, he was awarded the Ray Michal Prize for Outstanding Body of Work at the Jessie Richardson Theatre Awards.
He is a co-artistic director of Hong Kong Exile, an artistic associate with Theatre Conspiracy, a co-founder and key archivist with the videocan national archive, an infrequent Sessional Instructor with Simon Fraser University’s School for the Contemporary Arts, one of the co-creators behind culturecapital: the performing arts economy trading card game, and a founding member of Synectic Assembly—an Artificial Intelligence focused art collective.Upcoming: Milton is part of an 18-month Artistic Leadership Residency with the National Theatre School (Canada); his work on the asses.masses video game project recently received the prestigious National Creation Fund and premiered in Buenos Aires in February 2023; along with Patrick Blenkarn, he will be doing a self-directed residency in South America (February-April 2023) as well as continuing work with Darren O’Donnell, Alice Fleming, and a dedicated group of young people at the Humboldt Forum in Berlin over the next few years.
www.miltonlim.comInstagram: @miltonlim
About asses.masses:Labour, technophobia, donkeys, and sharing the load of revolution: asses.masses is a long form participatory performance that follows the epic journey of unemployed asses as they navigate the perils of a post-Industrial society in which they’ve been made redundant.
At its core, asses.masses is a custom-made video game designed to be played on stage by a live audience. Brave spectators take turns each night stepping forward from the herd to seize the means of production and become the player. There are no instructions. It is up to the audience and their self-elected leaders to make decisions and play out their version of the game.
Cheeky, political, and best described as Animal Farm meets Aesop’s Fables retold by Franz Kafka, Karl Marx, and Sonic the Hedgehog, asses.masses puts the control(ler) in its audience’s hands and asks them to discover the space between the work that defines us and the play that frees us.
www.assesmasses.work
Tickets to asses.masses at the Theatre Centre: https://theatrecentre.org/event/asses-masses-23/
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