An NAC English Theatre/Royal Manitoba Theatre Centre (Winnipeg)/Black Theatre Workshop (Montreal) Co-production
An explosive new comedy, confronting the classic To Kill a Mockingbird.
Up-and-coming screenwriter Julie sees herself as a tireless warrior for the marginalized. From the safe confines of her wealthy father’s Forest Hill home, she undertakes to rewrite one of the most beloved novels of all time, To Kill a Mockingbird, from the perspective of the Finch family’s Black maid,...
An NAC English Theatre/Royal Manitoba Theatre Centre (Winnipeg)/Black Theatre Workshop (Montreal) Co-production
An explosive new comedy, confronting the classic To Kill a Mockingbird.
Up-and-coming screenwriter Julie sees herself as a tireless warrior for the marginalized. From the safe confines of her wealthy father’s Forest Hill home, she undertakes to rewrite one of the most beloved novels of all time, To Kill a Mockingbird, from the perspective of the Finch family’s Black maid, Calpurnia. Julie aims to show that white novelist Harper Lee could not possibly capture the character of a Black woman living under the weight of servitude. Yet simmering under the surface of Julie’s mission is a glaring hypocrisy of which she is blithely unaware.
Calpurnia is a hilarious and highly-charged look at the knots and tangles of intersectionality and allyship, exposing motives and feelings that are clear as a bell one moment, and drowning in ambiguity the next.
Proving beyond doubt that no one is perfectly right and no one is perfectly wrong, Calpurnia leaves us gobsmacked in the best possible way.
This video panel conversation brings together theatre-makers whose work examines systems of justice. Moderated by Calpurnia Assistant Director Nikki Shaffeeullah, and featuring Cole Alvis, and Kim Senklip Harvey and Calpurnia playwright Audrey Dwyer, the four reflect on the ways in which art can shape, uphold, and subvert narratives about the justice system, and the ways in which performance can help imagine alternative understandings of harm, accountability, and repair.
Theatre credits at Royal Manitoba Theatre Centre include, as Director: The Mountaintop, Women of the Fur Trade; as Intimacy Director: Orlando, Fun Home; as Consulting Director: Bang Bang (with Belfry Theatre); as Actor: Vanya and Sonia and Masha and Spike (with Mirvish Productions), Good People, Medea (with Mirvish Productions).
Theatre credits elsewhere include, as Actor: thirsty (NAC); The Crucible, Theory (Tarragon Theatre), Clybourne Park and The Overwhelming (Studio 180 with Mirvish Productions), The Tempest (Canadian Stage, Dream in High Park), Black Medea (Obsidian Theatre); as Director: Blink (University of Winnipeg); Prairie Nurse (Lighthouse Theatre); Calpurnia (Nightwood Theatre/Sulong Theatre); The Apology (Rabiayshna Productions).
Audrey is Royal MTC’s Associate Artistic Director. She has won three Dora Mavor Moore Awards and the Cayle Chernin Award for Theatre. She was nominated for the Pauline McGibbon Award for Direction twice. Audrey co-wrote The D-Cut, a six-episode series produced by Shaftesbury Films. The multiple award-winning series is on Crave (Canada) and Shaftesbury’s KindaTV channel. She wrote the libretto for Backstage at Carnegie Hall (Bradyworks), which will open in Montreal in 2022. She was commissioned to write The Legend of Daddy Hall for the Tarragon Theatre, which was part of their Acoustic Season (2020/2021). She has been commissioned by Nightswimming Theatre to write The Generations, an epic five-hour drama about the legacy of a Black family over eons of time. She was a recipient of CBC’s Creative Relief Fund for her television pilot called The Gordons. She has been a writer-in-residence at Obsidian Theatre and the Tarragon Theatre, where she was also the Urjo Kareda Artist-in-Residence and the Assistant Artistic Director. Audrey graduated from the National Theatre School of Canada in 2001.
Au théâtre, ses collaborations avec le Royal Manitoba Theatre Centre, comme metteuse en scène, comprennent : The Mountaintop, Women of the Fur Trade; comme coordonnatrice d’intimité : Orlando, Fun Home; comme metteuse en scène consultante : Bang Bang (avec Belfry Theatre); comme actrice : Vanya and Sonia and Masha and Spike (avec Mirvish Productions), Good People, Medea (avec Mirvish Productions).
Autres collaborations au théâtre, comme actrice : thirsty (CNA); The Crucible, Theory (Tarragon Theatre), Clybourne Park et The Overwhelming (Studio 180 with Mirvish Productions), The Tempest (Canadian Stage, Dream in High Park), Black Medea (Obsidian Theatre); comme metteuse en scène : Blink (Université de Winnipeg); Prairie Nurse (Lighthouse Theatre); Calpurnia (Nightwood Theatre et Sulong Theatre); The Apology (Rabiayshna Productions).
Audrey est directrice artistique associée au Royal MTC. Elle est lauréate de trois prix Dora Mavor Moore et du prix Cayle Chernin en théâtre. Elle a été deux fois finaliste au prix Pauline McGibbon (mise en scène). Elle est l’autrice du livret Backstage at Carnegie Hall (Bradyworks), qui sera présenté à Montréal en 2022. Le Tarragon Theatre l’a chargée d’écrire The Legend of Daddy Hall, dans le cadre de sa saison « acoustique » (2020-2021). Elle a écrit The Generations à la demande du Nightswimming Theatre, et a reçu une bourse du fonds d’aide à la création de la CBC pour The Gordons. Diplômée de l’École de théâtre du Canada.
Sarah/SGS is VP of Programming at Arts Commons in Calgary and co-stewards historic Birchdale. Formerly the Artistic Producer for the National Creation Fund (NAC). As part of her PhD, in Cultural Studies at Queen’s, she created Massey & Me: Conversations at the End of Theatre. This five-part series formally references the CBC Massey Lectures, and it reflects critically on the genealogical, political, and administrative structures that house professional theatre in Canada.
She is co-founder of SpiderWebShow and FOLDA, the Baby Grand Theatre, was the 1st female Artistic Director at Buddies in Bad Times, and was the inaugural Artistic Associate for The Magnetic North Theatre Festival.
SGS was named a 2022 Arne Bengt Johansson Fellow at The Banff Forum and returned in 2023. She was recently appointed to the board of Alberta Theatre and the Buddies Leadership Advisory Pilot and the National Advisory for the Creation Fund.
Sarah, alias SGS, est vice-présidente de la programmation d’Arts Commons à Calgary et codirectrice du légendaire Birchdale. Elle a également été productrice artistique du Fonds national de création du CNA. Dans le cadre de son doctorat en études culturelles à l’Université Queen’s, elle a créé Massey & Me: Conversations at the End of Theatre, une série de cinq événements de réflexion faisant référence aux conférences CBC Massey. Dans le cadre de cette réflexion critique, SGS explore les structures généalogiques, politiques et administratives qui régissent le théâtre professionnel au Canada.
SGS a cofondé le SpiderWebShow, le Festival of Live Digital Art (FOLDA) et le Baby Grand Theatre, en plus d’avoir été la première directrice artistique du Buddies in Bad Times et la première collaboratrice artistique du Festival de théâtre Magnetic North.
En 2022, elle a été nommée boursière Arne Bengt Johansson du Banff Forum, avant d’y retourner l’année suivante. Depuis peu, elle siège au conseil d’administration de l’Alberta Theatre et au Comité consultatif national du Fonds national de création du CNA, et fait partie du projet pilote de consultation en leadership du Buddies in Bad Times Theatre.
Theatre credits include: Here are the Fragments (Theatre Centre); Les Frères (UC Follies); Canis Familiaris, My Friend’s Best Friend’s Boyfriend (Alumnae Theatre). FILM/TV: Murdoch Mysteries, Ruby and the Well, Meet Me in New York, The Hot Zone: Anthrax, Jump Darling, Mayday! Air Crash Investigation, Rock and Roll Christmas, It’s Nothing, Frankie Drake Mysteries. Upcoming: Death and the King’s Horseman (Stratford). Huge thanks to my family, friends, team, Royal MTC and NAC.
Au théâtre, il a joué notamment dans : Here are the Fragments (Theatre Centre); Les Frères (UC Follies); Canis Familiaris, My Friend’s Best Friend’s Boyfriend (Alumnae Theatre). Au cinéma et à la télévision : Murdoch Mysteries, Ruby and the Well, Meet Me in New York, The Hot Zone: Anthrax, Jump Darling, Mayday! Air Crash Investigation, Rock and Roll Christmas, It’s Nothing, Frankie Drake Mysteries. À venir : Death and the King’s Horseman (Festival de Stratford). Remerciements à ma famille, à mes ami·e·s, à l’équipe, au Royal MTC et au CNA.
Theatre credits include: Edward II (Soulpepper – workshop production); What I CallHer (Crow’s Theatre); King Lear @ theBaseball Diamond (Shakespeare in the Ruff); The Nails (SummerWorks Festival); TheQueen’s Eulogy (Toronto Fringe Festival); ThesePeaceable Kingdoms, Exit the King, KingLear (National Theatre School). FILM/TV: Homeschooled (CBC Gem); SloPitch (OUTtv/Prime); First Person, BandLadies (web series); The Comey Rule (CBS); Busytown Mysteries (CBC); RepoMen (Universal Pictures). Graduate Acting at the National Theatre School of Canada. Many thanks to Royal MTC and NAC for bringing me on to this production. Love to my family and the theatre community. Sarah and Audrey, thank you.
Au théâtre, elle a joué notamment dans : Edward II (Soulpepper, production en atelier); What I CallHer (Crow’s Theatre); King Lear @ theBaseball Diamond (Shakespeare in the Ruff); The Nails (SummerWorks Festival); TheQueen’s Eulogy (Toronto Fringe Festival); ThesePeaceable Kingdoms, Exit the King, KingLear (National Theatre School). Au cinéma et à la télévision : Homeschooled (CBC Gem); SloPitch (OUTtv et Prime); First Person, BandLadies (séries Web); The Comey Rule (CBS); Busytown Mysteries (CBC); RepoMen (Universal Pictures). Diplômée en interprétation de l’École nationale de théâtre du Canada. Remerciements au Royal MTC et au CNA pour m’avoir donné la chance de participer à cette production. Plein d’amour à ma famille et à la communauté théâtrale. Sarah et Audrey, merci.
Theatre credits include: Where.Are.You.From (Tiny Plays, Big Ideas) and 2021/22 National Mentorship Program (Royal Manitoba Theatre Centre). 25 QuestionsFor A Jewish Mother, Precipice (Winnipeg Jewish Theatre); Ma-Buhay Workshop, Miss Saigon, SouthPacific, Little Shop of Horrors (Rainbow Stage); Elizabeth Rex (Bunbury Productions); A Year with Frog and Toad (Manitoba Theatre for Young People); South Pacific (Winnipeg Symphony Orchestra); Kiss of the Spider Woman (Dry Cold Productions); South Pacific (Regina Symphony Orchestra); The Who’s Tommy (Platinum Theatre). FILM/TV: A Kiss Before Christmas (Hallmark); Larry Saves The CanadianHealth Care System (Tripwire Media Group); Not Funny (Imaginary Productions). Graduate of Sheridan College’s Musical Theatre Performance Program. Rochelle spent 12 years performing as the lead singer in the production casts onboard NCL, Azamara and Celebrity Cruises. She is co-founder and producer of the vocal group Unique3. Huge thank you to Royal MTC and NAC for this opportunity. Rochelle would like to dedicate this performance to her mom and grandma, her inspiration for Precy.
Au théâtre, elle a joué notamment dans : Where.Are.You.From (Tiny Plays, Big Ideas) et Programme national de mentorat 2021-2022 (Royal Manitoba Theatre Centre); 25 QuestionsFor A Jewish Mother, Precipice (Winnipeg Jewish Theatre); Ma-Buhay Workshop, Miss Saigon, SouthPacific, Little Shop of Horrors (Rainbow Stage); Elizabeth Rex (Bunbury Productions); A Year with Frog and Toad (Manitoba Theatre for Young People); South Pacific (Orchestre symphonique de Winnipeg); Kiss of the Spider Woman (Dry Cold Productions); South Pacific (Orchestre symphonique de Regina); The Who’s Tommy (Platinum Theatre). Au cinéma et à la télévision : A Kiss Before Christmas (Hallmark); Larry Saves The CanadianHealth Care System (Tripwire Media Group); Not Funny (Imaginary Productions). Diplômée du programme de comédie musicale du Collège Sheridan. Rochelle a été, pendant 12 ans, chanteuse principale dans les productions des croisières des compagnies NCL, Azamara et Celebrity Cruises. Elle est cofondatrice et productrice de l’ensemble vocal Unique3. Remerciements au Royal MTC et au CNA de m’avoir donné cette chance. J’aimerais dédier cette pièce à ma mère et à ma grand-mère, qui m’ont inspirée pour le rôle de Precy.
Theatre credits include: Shakespeare’s Dog (NAC/Royal Manitoba Theatre Centre); A Christmas Carol, Black Coffee, 23.5 Hours, Unnecessary Farce, The Hound of the Baskervilles (tour), Alice Through the Looking-Glass, A Few Good Men (with Citadel), August: Osage County, Mrs. Warren’s Profession, The Crucible, King Lear (Royal Manitoba Theatre Centre). Mamma Mia! (Rainbow Stage); Hamlet, Richard III, Othello and others (Shakespeare in the Ruins); I Dream of Diesel (One TrunkTheatre/Theatre Projects Manitoba); Encore (Theatre Projects Manitoba); Tribes,Ivanov, Way to Heaven, Lenin’s Embalmers (Winnipeg Jewish Theatre). Arne also works as a director, with credits at Royal MTC Tom Hendry Warehouse, Theatre Projects Manitoba, Shakespeare in the Ruins, Prairie Theatre Exchange, Manitoba Theatre for Young People and with many independent producers. FILM/TV: Arne has appeared in over 25 shot-in-Winnipeg film and television productions. Graduate of the BFA (Acting) program at the University of Alberta. Arne’s family, Deb, Gislina and Solmund, are all artists.
Au théâtre, il a joué notamment dans : Shakespeare’s Dog (CNA et Royal Manitoba Theatre Centre); A Christmas Carol, Black Coffee, 23.5 Hours, Unnecessary Farce, The Hound of the Baskervilles (tournée), Alice Through the Looking-Glass, A Few Good Men (avec Citadel Theatre), August: Osage County, Mrs. Warren’s Profession, The Crucible, King Lear (Royal Manitoba Theatre Centre). Mamma Mia! (Rainbow Stage); Hamlet, Richard III, Othello et autres (Shakespeare in the Ruins); I Dream of Diesel (One TrunkTheatre et Theatre Projects Manitoba); Encore (Theatre Projects Manitoba); Tribes,Ivanov, Way to Heaven, Lenin’s Embalmers (Winnipeg Jewish Theatre). Arne a aussi travaillé comme metteur en scène : Tom Hendry Warehouse du Royal MTC, Theatre Projects Manitoba, Shakespeare in the Ruins, Prairie Theatre Exchange, Manitoba Theatre for Young People et pour plusieurs productions indépendantes. Au cinéma et à la télévision : Arne a joué dans plus de 25 productions cinématographiques et télévisuelles tournées à Winnipeg. Il est titulaire d’un baccalauréat en beaux-arts (interprétation) de l’Université de l’Alberta. Les membres de la famille d’Arne, Deb, Gislina et Solmund sont aussi des artistes.
Select theatre credits include: The Mountaintop (Persephone); 1851: Spirit & Voice (Soulpepper/Myseum); 21 Black Futures (Obsidian Theatre/CBC – Canadian Screen Awards Winner; Best Web Series); Peter Pan (Bad Hats/Soulpepper); School Girls; Or, The African Mean Girls Play (2019 Dora Award Winner for Outstanding Production – Obsidian Theatre /Nightwood Theatre); Wounded Soldiers (4th Line); The Bird Killer (Let Me In). TV: Forbidden, Fear Thy Neighbor, See No Evil, Paranormal 911. Graduated from the University of Windsor – BFA Acting 2016; Factory Theatre Mechanicals graduate – 2016/17. Emerjade thanks everyone on this fantastic team for their support and guidance. Always take a leap of Faith.
Au théâtre, elle a joué notamment dans : The Mountaintop (Persephone); 1851: Spirit & Voice (Soulpepper et Myseum); 21 Black Futures (Obsidian Theatre et CBC, prix Écrans canadiens, Meilleure série Web); Peter Pan (Bad Hats et Soulpepper); School Girls; Or, The African Mean Girls Play (Obsidian Theatre et Nightwood Theatre, Prix Dora, Production de l’année 2019); Wounded Soldiers (4th Line); The Bird Killer (Let Me In). À la télévision : Forbidden, Fear Thy Neighbor, See No Evil, Paranormal 911. Détentrice d’un baccalauréat en beaux-arts de l’Université de Windsor (interprétation, 2016); diplômée du Factory Theatre Mechanicals (2016-2017). Remerciements à toute la merveilleuse équipe pour son appui et ses conseils. Osez faire confiance.
Theatre credits include: The Mountaintop, It’s a Wonderful Life: The Radio Play, The Man Who Shot Liberty Valance, Romeo and Juliet (Royal Manitoba Theatre Centre); One Flew Over the Cuckoo’s Nest (Royal Manitoba Theatre Centre/Theatre Calgary); The Tempest (Citadel Theatre); Deserter, Remember the Night (Moving Target); Hedda Noir (Theatre NorthWest); The Whipping Man (Winnipeg Jewish Theatre); Romeo and Juliet (Shakespeare in the Ruins); Dutchman (PlayOn Theatre); Rosencrantz & Guildenstern Are Dead (Black Hole Theatre Company). Trained at Black Hole Theatre Company; Banff Centre for The Arts. Look for Ray on The Porter, a new CBC series focusing on the lives of Black Train Porters in Canada in the 1920s. Ray is also co-host of the Ray & Benny Talk Sports podcast. You can find it on YouTube and on your preferred podcast platforms.
Au théâtre, il a joué notamment dans : The Mountaintop, It’s a Wonderful Life: The Radio Play, The Man Who Shot Liberty Valance, Romeo and Juliet (Royal Manitoba Theatre Centre); One Flew Over the Cuckoo’s Nest (Royal Manitoba Theatre Centre/Theatre Calgary); The Tempest (Citadel Theatre); Deserter, Remember the Night (Moving Target); Hedda Noir (Theatre NorthWest); The Whipping Man (Winnipeg Jewish Theatre); Romeo and Juliet (Shakespeare in the Ruins); Dutchman (PlayOn Theatre); Rosencrantz & Guildenstern Are Dead (Black Hole Theatre Company). Formation : Black Hole Theatre Company; Centre des arts de Banff. Télévision : nouvelle série de la CBC, The Porter, portant sur la vie des porteurs noirs travaillant dans les trains au Canada, dans les années 1920. Coanimateur du balado Ray & Benny Talk Sports (disponible sur YouTube et votre plateforme de balados préférée).
Rachel Forbes is an award-winning set and costume designer creating for theatre, dance and film. Her work has been seen across the country at the Shaw Festival, Buddies in Bad Times, Obsidian Theatre, Neptune Theatre, YPT, Centaur Theatre and many more. She has designed, mentored and taught at Ryerson University and is currently serving on the board of directors of the Associated Designers of Canada. Rachel received a Dora Mavor Moore award for her costume design for The Brothers Size (Soulpepper 2019) and a Merrit Award for her set design for The Bridge (2B/Neptune 2019).
She is particularly interested in the development of new works through experimentation and exploration as well as interdisciplinary projects, especially those at the intersection of the visual arts and installation world with that of theatre and live performance. Rachel has been experimenting with designer-led performance projects and is keen to integrate design into the creation process.
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Theatre credits include Set and Costume Design for Home for the Holidays (Grand Theatre); Serving Elizabeth (Western Canada Theatre); A Million Billion Pieces, Risky Phil (Young People’s Theatre); Victory, 1837: The Farmers’ Revolt (Shaw Festival); The Bridge (Neptune Theatre/2b Theatre); Choir Boy (Centaur Theatre). Costume Design for White Girls in Moccasins (Manidoons/Buddies in Bad Times); Toka (LemonTree/TPM); The Mountaintop (Royal Manitoba Theatre Centre); A Streetcar Named Desire, The Brothers Size (Soulpepper); Fences (Grand Theatre). Set Design for Trouble in Mind (Shaw Festival); School Girls (Obsidian Theatre); In The Abyss (Political Movement).
Film/TV credits include: 1851 Spirit & Voice (Myseum/Soulpepper); New Monuments (Canadian Stage/Luminato); 21 Black Futures (Obsidian Theatre/ CBC); A Revolution of Love (Toronto History Museums/Awakenings); Body So Fluorescent (Madonnanera/lnside Out). Rachel received a Dora Mavor Moore Award for her costume design on The Brothers Size and a Merritt Award for her set design on The Bridge.
Rachel Forbes est une scénographe et conceptrice de costumes primée pour le théâtre, la danse et le cinéma. Elle a collaboré, entre autres, avec le Shaw Festival, le Buddies in Bad Times Theatre, l’Obsidian Theatre, le Neptune Theatre, le Young People’s Theatre et le Centaur Theatre. Elle a été conceptrice, mentore et professeure à l’Université Ryerson. Elle est membre du conseil d’administration de l’Association des designers canadiens. Rachel Forbes a reçu un prix Dora Mavor Moore pour la conception des costumes de la pièce The Brothers Size (Soulpepper 2019) et un prix Merritt pour ses décors dans The Bridge (2b et Neptune Theatre 2019).
Pour créer de nouvelles œuvres, Rachel Forbes mise sur l’expérimentation et l’exploration. Elle affectionne particulièrement les projets multidisciplinaires, notamment ceux à la croisée des arts visuels, du théâtre et du spectacle en direct. Elle a participé à des productions portées par des concepteurs et conceptrices et s’efforce d’intégrer la conception dans le processus de création.
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Au théâtre, ses collaborations, comme conceptrice de décors et de costumes, comprennent : Home for the Holidays (Grand Theatre); Serving Elizabeth (Western Canada Theatre); A Million Billion Pieces, Risky Phil (Young People’s Theatre); Victory, 1837: The Farmers’ Revolt (Shaw Festival); The Bridge (Neptune Theatre et 2b Theatre); Choir Boy (Centaur Theatre). Conception de costumes : White Girls in Moccasins (Manidoons et Buddies in Bad Times); Toka (LemonTree et TPM); The Mountaintop (Royal Manitoba Theatre Centre); A Streetcar Named Desire, The Brothers Size (Soulpepper); Fences (Grand Theatre). Conception de décors : Trouble in Mind (Shaw Festival); School Girls (Obsidian Theatre); In The Abyss (Political Movement).
Courts métrages : 1851 Spirit & Voice (Myseum et Soulpepper); New Monuments (Canadian Stage et Luminato); 21 Black Futures (Obsidian Theatre et CBC); A Revolution of Love (Musées d’histoire de Toronto et Awakenings); Body So Fluorescent (Madonnanera et lnside Out). Elle a reçu un prix Dora Mavor Moore pour la conception de costumes de la pièce The Brothers Size et un prix Merritt pour ses décors dans The Bridge.
Theatre credits for Royal Manitoba Theatre Centre include Costume Design for Tiny Plays, Big Ideas, Bang Bang (with Belfry), Last Train to Nibroc (tour) and Apprentice Costume Design for Billy Elliot the Musical, as well as the 2020/21 National Mentorship Program (Royal Mantioba Theatre Centre). Other Costume Design: Voice (PTE), Plé (Plé Collective presented by Manitoba Theatre for Young People); Spelling 2-5-5 (Manitoba Theatre for Young People); Women of the Fur Trade (Vault Projects); Mary’s Wedding, Iceland (Theatre Projects Manitoba); Concord Floral, Vinegar Tom, The Laramie Project (University of Winnipeg). Set Design: Richard III (Shakespeare in the Ruins). Production Design: The Game, Two Indians, The Seduction Theory (Sarasvàti). Assistant Costume Design: Othello, The Neverending Story, The Rocky Horror Show, Romeo and Juliet (Stratford Festival). Training: University of Winnipeg.
Au théâtre, ses collaborations avec le Royal Manitoba Theatre Centre, comme concepteur de costumes, comprennent : Tiny Plays, Big Ideas, Bang Bang (avec Belfry Theatre), Last Train to Nibroc (tournée); apprenti concepteur de costumes : Billy Elliot the Musical, ainsi que participation au Programme national de mentorat 2020-2021 (Royal Mantioba Theatre Centre). Conception de costumes pour d’autres compagnies : Voice (PTE), Plé (collectif Plé, présenté par le Manitoba Theatre for Young People); Spelling 2-5-5 (Manitoba Theatre for Young People); Women of the Fur Trade (Vault Projects); Mary’s Wedding, Iceland (Theatre Projects Manitoba); Concord Floral, Vinegar Tom, The Laramie Project (Université de Winnipeg). Conception de décors : Richard III (Shakespeare in the Ruins). Production et conception : The Game, Two Indians, The Seduction Theory (Sarasvàti). Assistant à la conception de costumes : Othello, The Neverending Story, The Rocky Horror Show, Romeo and Juliet (Festival de Stratford). Formation : Université de Winnipeg.
Selected theatre credits at Royal Manitoba Theatre Centre: Lighting & Video Designer for The Mountaintop,Vietgone, Venus in Fur. Lighting Designer for Kill Me Now (with NAC), Orlando, All is Bright, Women of the FurTrade, Fun Home, The Color Purple (with Citadel Theatre), Seminar (with Mirvish Productions), Dry Lips Oughta Move toKapuskasing and many other productions since the ‘80s. Hugh has collaborated with choreographers, visual artists and dance and theatre companies worldwide. Hugh enjoys working beyond the constraints of traditional lighting design using various forms of interactive media, video and photography. His photographic work resides in private collections and has been published worldwide. Hugh is a member of the Associated Designers of Canada and L’Association des professionnels des arts de la scène du Québec. www.pellucid.me.
Au théâtre, ses collaborations avec le Royal Manitoba Theatre Centre, comme concepteur de vidéos et des éclairages, comprennent : The Mountaintop,Vietgone, Venus in Fur. Concepteur des éclairages : Kill Me Now (avec le CNA), Orlando, All is Bright, Women of the FurTrade, Fun Home, The Color Purple (avec Citadel Theatre), Seminar (avec Mirvish Productions), Dry Lips Oughta Move toKapuskasing et de nombreuses autres productions depuis les années 1980. Hugh a collaboré avec des chorégraphes, des artistes visuels et des compagnies de danse et de théâtre du monde entier. Il tente de s’affranchir des contraintes de la conception traditionnelle de l’éclairage en utilisant des médias interactifs, de la vidéo et de la photographie. Ses œuvres photographiques font partie de collections privées et ont été publiées à travers le monde. Il est membre de l’Association des designers canadiens et de l’Association des professionnels des arts de la scène du Québec. www.pellucid.me.
Theatre credits at Royal Manitoba Theatre Centre include Kill Me Now (with NAC); The (Post) Mistress, The Mountaintop, Fun Home, The Hound of the Baskervilles (Tour). Chris has had the pleasure of working with many other local and international theatre groups. Credits include Routes (tour, Manitoba Theatre for Young People); The Hound of the Baskervilles, Little Thing Big Thing (Prairie Theatre Exchange); EDEN (Sarasvàti); Bashir Lazhar (Theatre Projects Manitoba); Angels in America, Perestroika (Winnipeg Jewish Theatre); Three Sisters (zone41). Chris is a graduate of the Ontario Institute of Audio Recording Technology. Chris has been involved in the theatre industry in Winnipeg for many years, and currently works as Royal MTC’s Technical Director at the John Hirsch Mainstage.
Au théâtre, ses collaborations avec le Royal Manitoba Theatre Centre comprennent : Kill Me Now (avec le CNA); The (Post) Mistress, The Mountaintop, Fun Home, The Hound of the Baskervilles (tournée). Il a eu le plaisir de travailler avec de nombreuses autres troupes de théâtre nationales et internationales, notamment dans le cadre des productions suivantes : Routes (tournée, Manitoba Theatre for Young People); The Hound of the Baskervilles, Little Thing Big Thing (Prairie Theatre Exchange); EDEN (Sarasvàti); Bashir Lazhar (Theatre Projects Manitoba); Angels in America, Perestroika (Winnipeg Jewish Theatre); Three Sisters (zone41). Diplômé de l’Institute of Audio Recording Technology de l’Ontario. Chris participe au secteur du théâtre de Winnipeg depuis de nombreuses années et est actuellement directeur technique de la salle principale John Hirsch du Royal MTC.
Theatre credits at Royal Manitoba Theatre Centre include, as Director: Where.Are.You.From (Tiny Plays, Big Ideas); as Assistant Director: The Mountaintop; 2020/21 National Mentorship Program. Hazel is the Co-founder of U N I Together Productions, a multi-media producing company for theatre, film, television and the web - all for the hopes of a better future and a sustainable ecology for Filipino-Canadian stories and story-tellers. UNIT’s core activities include: mentorship, consultancy, dramaturgy, directing, commissioning, producing and presenting support on an ongoing basis while respecting the organic growth and pace at which both UNIT and the Filipino community moves. www.unitprod.ca
Au théâtre, Hazel Venzon a collaboré avec le Royal Manitoba Theatre Centre comme metteuse en scène de Where.Are.You.From (Tiny Plays, Big Ideas); assistante à la mise en scène de The Mountaintop; et mentore pour leur programme national de mentorat 2020-2021. Hazel est la cofondatrice de la compagnie de production multimédia U ‘N I Together Production (UNIT), qui œuvre dans le domaine du théâtre, du cinéma, de la télévision et du Web, dans l’espoir de bâtir un avenir meilleur et un écosystème durable pour les histoires philippino-canadiennes et les artistes qui les racontent. Les activités principales d’UNIT comprennent : le mentorat, l’expertise-conseil, la dramaturgie, la mise en scène, la programmation, la production et le soutien continu d’UNIT et de la communauté philippine, en respectant leur croissance et leur rythme internes. www.unitprod.ca [en anglais seulement]
Nikki Shaffeeullah (she/her) is a director, writer, actor, and facilitator who creates theatre, film, and poetry. Past roles include artistic director of The AMY Project, and editor-in-chief of alt.theatre magazine.
As a facilitator, Nikki supports grassroots groups to navigate collective processes and to uphold equity and accountability in all aspects of their work. An award-winning theatre and film artist, Nikki collaborates with companies and artists from across Canada. She has held residencies with organizations including Canadian Stage, Why Not Theatre, The Theatre Centre, SummerWorks, and others. She has an MFA from the University of Alberta and is a fellow in the Salzburg Global Forum for Cultural Innovators.
Nikki believes art should disrupt the status quo, centre the margins, engage with the ancient, dream of the future, and be for everyone.
Nikki Shaffeeullah est une metteure en scène, autrice, comédienne et animatrice dans les domaines du théâtre, du cinéma et de la poésie. Précédemment, elle a été directrice artistique du AMY Project, et rédactrice en chef de la revue alt.theatre.
À titre d’animatrice, Nikki Shaffeeullah aide les associations à gérer les différents processus collectifs en vigueur et à s’assurer qu’elles respectent les principes d’équité et de responsabilité dans tous les aspects de leurs activités. Artiste de théâtre et de cinéma primée, elle collabore avec des compagnies et des artistes de tout le Canada, en plus d’effectuer des résidences auprès de plusieurs organisations, telles que la Canadian Stage Company, le Why Not Theatre, le Theatre Centre ou SummerWorks. Titulaire d’une maîtrise en beaux-arts de l’Université de l’Alberta, elle participe au Forum mondial de Salzbourg pour les innovateurs dans le domaine culturel.
Nikki Shaffeeullah croit que l’art se doit de secouer le statu quo, de faire la part belle au non-conformisme, de s’intéresser au passé, d’imaginer le futur et d’être universel.
Theatre credits include: The (Post) Mistress, Women ofthe Fur Trade, Miss Bennet: Christmas atPemberley (Royal Manitoba Theatre Centre); Frozen River (Manitoba Theatre for Young People); The Winter’s Tale / Le conte d’hiver (Shakespeare in the Ruins/ Théâtre Cercle Molière); Lawrence and Holloman, The 25thAnnual Putnam County Spelling Bee (Guild Hall – Whitehorse, YT). Training: Banff Centre for Arts and Creativity Practicum program (2019) in Scenic Art. Shauna would like to extend a sincere thanks for the additional and thoughtful support of the Kingfisher Foundation, and to Royal MTC for giving her this opportunity.
Au théâtre, ses collaborations comprennent : The (Post) Mistress, Women ofthe Fur Trade, Miss Bennet: Christmas atPemberley (Royal Manitoba Theatre Centre); Frozen River (Manitoba Theatre for Young People); The Winter’s Tale / Le conte d’hiver (Shakespeare in the Ruins et Théâtre Cercle Molière); Lawrence and Holloman, The 25thAnnual Putnam County Spelling Bee (Guild Hall, Whitehorse, YT). Formation : programme de stage en arts scénographiques au Centre des arts de Banff (2019). Remerciements sincères pour le soutien supplémentaire de la Fondation Kingfisher. Merci au Royal MTC de m’avoir donné cette chance.
Theatre credits at the Royal Manitoba Theatre Centre include, as Stage Manager: Vietgone (with fu-GEN/Hope and Hell), Hand to God. Assistant Stage Manager: The Mountaintop, The Color Purple (with Citadel Theatre), A Christmas Carol, The Curious Incident of the Dog in the Night-Time (with Citadel), Chimerica, Clever Little Lies, The Glass Menagerie, Other People’s Money; as Apprentice Stage Manager: Mrs. Warren’s Profession, In the Next Room or the vibrator play, The Shunning, Brief Encounter, The Seafarer, Steel Magnolias. Props: Gone With the Wind. Other theatre credits include Mamma Mia!, Les Misérables (Rainbow Stage); The War Being Waged, Ghost Light (Prairie Theatre Exchange); The Winter’s Tale / Le conte d’hiver (Shakespeare in the Ruins/Théâtre Cercle Molière); Hamlet (Shakespeare in the Ruins); MTYP’s Midwinter Mosey, A Year with Frog and Toad (Manitoba Theatre for Young People); Meet Me at Dawn (Theatre by the River). Training: B.A. (Hons) in Theatre Production and Stage Management at the University of Winnipeg.
Au théâtre, ses collaborations avec le Royal Manitoba Theatre Centre, comme régisseur, comprennent : Vietgone (avec fu-GEN et Hope and Hell), Hand to God; comme assistant régisseur : The Mountaintop, The Color Purple (avec Citadel Theatre), A Christmas Carol, The Curious Incident of the Dog in the Night-Time (avec Citadel Theatre), Chimerica, Clever Little Lies, The Glass Menagerie, Other People’s Money; comme apprenti régisseur : Mrs. Warren’s Profession, In the Next Room or the vibrator play, The Shunning, Brief Encounter, The Seafarer, Steel Magnolias. Accessoiriste : Gone With the Wind. Autres collaborations au théâtre : Mamma Mia!, Les Misérables (Rainbow Stage); The War Being Waged, Ghost Light (Prairie Theatre Exchange); The Winter’s Tale / Le conte d’hiver (Shakespeare in the Ruins et Théâtre Cercle Molière); Hamlet (Shakespeare in the Ruins); MTYP’s Midwinter Mosey, A Year with Frog and Toad (Manitoba Theatre for Young People); Meet Me at Dawn (Theatre by the River). Formation : baccalauréat en production théâtrale et en régie à l’Université de Winnipeg.
Theatre credits at the Royal Manitoba Theatre Centre include Assistant Stage Manager: Bang Bang (with Belfry Theatre); Apprentice Stage Manager for Buying the Farm (tour), Roald Dahl’s Matilda The Musical, Vietgone (with fu-GEN/Hope and Hell), The Humans. Assistant Production Manager (2017/18, 2020/21, 2021/22 seasons). Other theatre credits include Stage Manager: The Drawer Boy (Hudson Village Theatre); Ed & Ed – Trapped!, Outside Mullingar, Neddy Norris Night, Fly Me to the Moon, Newfoundland Vinyl, The Out Vigil (Gros Morne Theatre Festival); Shape of a Girl (Cart Before the Horse). Assistant Stage Manager: Seven Sopranos of Winnipeg (Manitoba Opera). Apprentice Stage Manager: Barber of Seville (Manitoba Opera); The Halloween Tree (Geordie Productions); The Amazing Adventures of Pericles, Prince of Tyre (A Company of Fools). Training: Graduate of the National Theatre School of Canada – Production Program (2017). A very special thanks to my Royal MTC family, my parents, my family and friends from Gatineau to Tasmania, Ilana Modulevsky, Patrick Michalishyn, my graduating class at NTS, and all the wonderful folks who made this show possible!
Au théâtre, ses collaborations avec le Royal Manitoba Theatre Centre, comme assistante régisseuse, comprennent : Bang Bang (avec Belfry Theatre); apprentie régisseuse : Buying the Farm (tournée), RoaldDahl’s Matilda The Musical, Vietgone (avec fu-GEN et Hope and Hell), The Humans. Assistante régisseuse pour les saisons 2017-2018, 2020-2021, 2021-2022. Autres collaborations au théâtre, en tant que régisseuse : TheDrawer Boy (Hudson Village Theatre); Ed & Ed – Trapped!, Outside Mullingar,Neddy Norris Night, Fly Me to the Moon,Newfoundland Vinyl, The Out Vigil (Festival de théâtre de Gros-Morne); Shape of a Girl (Cart Before the Horse). Assistante régisseuse : Seven Sopranos of Winnipeg (Opéra du Manitoba). Apprentie régisseuse : Barber of Seville (Opéra du Manitoba); The Halloween Tree (Geordie Productions); The Amazing Adventuresof Pericles, Prince of Tyre (A Company of Fools). Formation : diplômée de l’École nationale de théâtre du Canada (Production, 2017). Je remercie tout particulièrement ma famille du Royal MTC, mes parents, ma famille et mes ami·e·s de Gatineau à la Tasmanie, Ilana Modulevsky, Patrick Michalishyn, ma cohorte de l’École nationale de théâtre et toutes les merveilleuses personnes qui ont rendu ce spectacle possible!
