Without PWM I would feel adrift; an artist often is when exploring -- they are caught by some idea, some urging inside, unspecified, inarticulate, a sense of outrage or obsession lacking form. Producing theatres need something more concrete. But where can the artist go while in that in between zone, when the work is sketched enough to be read but not concrete enough to be finalized....are they ever really?

PWM has consistently supported my writing, encouraged me when I thought nothing could penetrate the fog, helped develop my voice and craft through dramaturgy, workshops, master classes and assisted research. They're family and critical peers who see the art without the vagaries of production demands. PWM has helped mentor almost all my plays, all risky works, including the Governor General award winning play, The Monument, and Home, a play with five languages (one invented) and most recently Morning Bird. PWM is an advocate for anglophone writers in Canada, PLUS provides a sistering for cross-translations with our francophone writers. I cannot imagine a theatre scene, in either official language, without PWM.

Colleen Wagner