Canada was a dramaturgical desert for playwrights in 1963. Most theatres in the country produced virtually no Canadian plays, and in the annual report for 1960-61, The Canada Council for the Arts stated plaintively that:

The health of the theatre cannot depend only upon its actors, directors and designers. It is vitally dependent upon its playwrights and upon the quality of the work they produce. The Council is of the opinion that living theatre demands living playwrights, and that Canadian theatre demands Canadian playwrights.

In 1963 the Western Quebec division of the Dominion Drama Festival decided to do something about it. They brought together a number of playwrights who formed the nucleus of Playwrights' Workshop Montréal.

The very idea of how a play should be workshopped, dramaturged and developed in Canada has grown out of this organization. Among the pioneers were Dan Daniels, Carol Libman, Aviva Ravel, Norma Springford, Walter Massey, Victor Knight, Justice Rinfret and Guy Beaulne. Many of these founders are still making significant contributions to the theatre of this country and this city.

In the first decade, dozens of scripts were given readings, critiques, and workshops by volunteers and colleagues. In the seventies, Playwrights' Workshop briefly attempted to become a landlord and production house, but the tension between the production and the development process grew too great. With the hiring of Bob White, the first Artistic Director, Playwright's Workshop was finally on track.

Bob expanded the developmental and dramaturgical thrust of Playwrights' Workshop, got the larger theatrical community involved, and brought in audiences who were actually excited by the process of creating a new body of theatre. Per Brask followed Bob's lead, and after him Brian Richmond. In the early eighties, Rina Fraticelli (with Corey Castle as Administrator) moved the workshop temporarily into the same venue as Théâtre Expérimental des Femmes, and welded a rich and enduring translation mandate for the organization. Michael Springate (with Catherine Cahill as Administrator) oversaw Playwrights' Workshop's move into the 4001 Berri venue, where Svetlana Zylin made huge strides in Production Dramaturgy, with a national program providing residencies for visiting artists. When the offices moved to their location at the Strathearn Centre, Michael Devine (with Kimberley Barfuss as Administrative Coordinator) continued the tradition of exploring and expanding the opportunities for playwrights across Canada.

From 1994 to Montréal's Great Ice Storm in January, 1998, Peter Smith devoted his energies to fostering communication and exchanges between artists from diverse communities and disparate origins. During his tenure as Artistic Director (with Rebecca Scott as the General Manager) he oversaw Playwrights' Workshop's move from the Strathearn Centre to boul. St. Laurent. He also created the Extended Workshop and Writers' Unit programs, and expanded artistic residencies, translation projects, and Playwrights' Workshop's connection to Montréal's theatre community.

From 1998 to 2007 Paula Danckert (with Shannon Webb and Corey Castle as General Managers) placed a greater emphasis on critical dramaturgy and a total theatrical assessment of works in the developmental stages. Her work and experience significantly placed Playwrights’ Workshop at the forefront of National Play Development. Paula is now working with the National Arts Centre English Theatre as Company Dramaturg and Associate Artist.

Emma Tibaldo was appointed Artistic Director in September 2007. Emma possesses a unique artistic vision rooted in collaborative work as a theatre director and dramaturg. Having been the Dramaturg-in-Residence at PWM for three seasons, Emma has a deep understanding of the organization and its mandate. Emma has worked across the country as a dramaturg and director. Her interest is in the multi-faceted process of dramaturgical development for the stage. She is fluent in English, French, and Italian. She is a graduate of Concordia University in English Literature and Theatre. She is also a graduate of The National Theatre School of Canada’s Directing program.

The result of Playwrights’ Workshop Montréal’s decades of commitment to hundreds of playwrights across the country is a growing body of Canadian theatre. The quest for the Canadian theatre canon continues.

To get a real sense of PWM’s early years, read the anecdotes and stories of Carol Libman, one of the founding members of Playwrights' Workshop, for whom our script collection has been named.