Public Reading of Hamster

Public Reading of Hamster

CLICK HERE TO RSVP

CAST

Laurent Pitre, Brian Dooley, Katharine King So, Anna Burkholder, Frédéric Lemay, and Jimmy Blais

SYNOPSIS

Two terrified boys in a Petro Canada stare across the street as a girl stares back from the bus shelter. An old man passes a vacuum cleaner on his lawn. And a girl gets baked inside a yellow playground slide, holding her hamster and contemplating life.

ABOUT THE PLAYWRIGHT

Marianne Danserau’s award-winning surrealist comedy about love and longing presents a maze of intersecting stories that keeps audiences eagerly waiting for how it will all unfold. Hear it read in English for the first time by a stellar cast of bilingual Montreal actors, and join us afterwards to talk with the team, and the playwright.

venue

Playwrights’ Workshop Montréal
7250 Clark, Suite 103
Montréal, QC  H2R 2Y3
(De Castelnau station)

 

Developed with the support of PWM.

Job offer: Communications Coordinator

Job Offer - Communications Coordinator
ORGANIZATION DESCRIPTION:

Established in Montreal in 1963, Playwrights’ Workshop Montréal (PWM) is a nationally-mandated theatre development centre led by a team of renowned dramaturgs and arts administrators. We are a bilingual non profit organization dedicated to collaborating with artists in the development of new works of theatre and performance. Read more about PWM’s mission and mandate at: www.playwrights.ca/about-us

JOB OVERVIEW:

PWM is currently seeking a part-time (20hrs/week) Communications Coordinator for an indeterminate term contract, beginning immediately.

Reporting to the General Manager, the Communications Coordinator is responsible for the coordination and execution of PWM’s marketing and communications strategies. The Communications Coordinator will create, produce and distribute materials using PWM’s communications channels and will monitor and maintain PWM’s website and social media platforms.

At this time, PWM is reviewing its communications platforms and marketing strategies (website, newsletter, social media, etc) with the assistance of three consultants who specialize in three distinct areas: 1)  SEO and communications analytics, 2) terminology of communications, the expression of programming and terms of engagement, and transparency of organizational operations through an equity lens and 3) the creation of artistic content for online engagement. The Communications Coordinator will contribute to the strategic thinking and planning during this process, and also assist with the implementation of findings.

SALARY, HOURS and BENEFITS:

The position pays $19/hour, payable in correspondence with net amounts after all standard employment deductions. The position includes 10 days (40 hours) of paid vacation during the period of December 23 to January 3 and 5 days (20 hours) of paid vacation during the month of July.

Working hours are 20 hours a week, on a schedule determined with the General Manager. When additional projects arise, the Communications Coordinator may be asked to work up to an additional 5 hours a week.

DUTIES AND RESPONSIBILITIES:
  • Write a variety of different content to support communications and marketing efforts, including newsletters, website, social media, brochures and press releases
  • Design promotional materials for PWM’s communication and marketing efforts that include images and or/video suitable for social media sharing, mailchimp, email and website
  • Design other communications materials such as posters, postcards, signage, letterhead, brochures, business cards, etc
  • Assist the PWM team in developing and implementing a communications strategy designed to further the organization’s objectives
  • Plan and execute social media campaigns
  • Manage, maintain and update PWM’s website
  • Manage and adhere to a Communications budget as given by General Manager
  • Manage and compile calls from the community that would benefit artists that PWM closely works with (i.e. Playwrights, Translators, Dramaturgs)
  • Track and promote PWM-developed plays once they go into production
  • Assist the General Manager in the creation and follow through of recognition and crediting contracts with PWM collaborators
  • Monitor analytics and create reports detailing the successes and failures of communications campaigns and strategies
  • Stay up to date on industry trends and make recommendations for adjustments to communications strategies and practices
  • Respond to media inquiries and maintain relationships with journalists and other members of the press
QUALIFICATIONS:
  • 3+ years experience in a communications or marketing role
  • Superior time management and organizational skills and ability to meet deadlines
  • An analytical mind and ability to think critically
  • Exceptional writing and interpersonal communication skills in both English and French
  • Experience in the design, execution and distribution of digital and print materials (posters, postcards, ads, etc)
  • Ability to work both independently and as part of a team
  • Knowledge of WordPress, SEO and Google Analytics
  • Knowledge of G Suite, MS Word, Excel and Powerpoint, Photoshop, and social media platforms
  • Knowledge of CiviCRM, HTML coding, photography, and video editing is an asset
  • Knowledge of email marketing software such as Mailchimp
  • Proven knowledge of communications and marketing ethics and best practices
  • Comfort with managing multiple projects at the same time and ability to adapt
EDUCATION:

Graduate of communications, marketing, and/or public relations program or equivalent.

APPLICATION:

Please email your Cover Letter and CV to Lesley Bramhill, gm@playwrights.ca, with the subject line “Application Communications Coordinator”. Please include one writing example (your choice of a press release, a brochure, a social media post, etc) and one digital or print design example (a poster, postcard, image that was shared online, etc). Applications should also include a minimum of 3 references.

Candidates must submit applications by 12 noon on  August 23, 2019. However, applications will be considered as they come in and interviews may be held prior to this date. Ideally, the selected candidate will begin training sometime the week of August 26, 2019 and take over the position as of the week of September 3, 2019.

Playwrights’ Workshop Montreal  is an equal opportunity employer and values diversity in its workforce, encouraging applications from all qualified individuals. We strongly encourage applications from members of equity seeking groups, including but not limited to:  those whose lives have been impacted by illness or disability*, BIPOC communities, LGBTQIIA+ communities, newcomers to Canada and from all groups who experience marginalization. We encourage applicants to self-identify in their cover letter if they are comfortable doing so.

We thank all applicants for their interest but only those selected for an interview will be contacted.

*please visit our website for accessibility information at PWM: www.playwrights.ca/accessibility

Story of the Cole Foundation Mentorship for Emerging Translators

Story of the Cole Foundation Mentorship for Emerging Translators

–  by Maureen Labonté, PWM Translation Dramaturg

Lire l’article en français

How It All Began

Emma Tibaldo and I meet for lunch every now and then. It’s a way for us to stay in touch, to catch up on what the other is doing, to gossip a little, to get into a few heated discussions and to make plans. We talk dramaturgy, play development and, of course, translation. At one such lunch, way back in 2009, we ended up discussing the actual process of translating. That led us to wondering about where the next generation of translators would come from and then to a long discussion about whether translation for the stage can be taught.

Well, to make a long story short, after a few more meetings and brainstorming sessions, Emma approached Barry Cole with the idea of a competition which would encourage the development of new voices in Canadian translation. Barry liked the idea and the rest is history!! The Cole Foundation decided to support the idea and join Playwrights’ Workshop Montréal in this venture. 

What started as a Translation Unit became a Competition in 2012, then a Prize a few years later and is now a Mentorship.

How and Why It Works

Before applying for the Mentorship, emerging translators must choose the play they wish to translate and contact the playwright for permission: Establishing a connection to the play and the playwright in advance means that the applicant is already invested in the proposed work and would be in a position to begin work immediately following the announcement of the selected project.

The Translators

Playwright and librettist, Alexis Diamond, was the first winner of the Cole Competition for Emerging Translators in 2012-13. She translated Marie-Claude Verdier’s Je n’y suis plus. I’m Not Here, produced and directed by Alexis and her company Composite Theatre, was selected to be part of the 2016 Summerworks Festival in Toronto, the Voilà Festival in the United Kingdom and the BoucheWHACKED Festival in Vancouver. Alexis has not looked back! She’s gone on to translate a number of plays, including Pascal Brullemans’ TYA (Theatre for Young Audiences) play Vipérine/Amaryllis and Pascale St-Onge’s play Tarmac for the National Theatre School, and has contributed to translations for Cirque du Soleil’s latest touring show written by Olivier Kemeid. In January, she went to New Orleans with her translation of Marie-Hélène Larose-Truchon’s Minuit, Midnight.

In 2014, well-known Montreal theatre artist, Johanna Nutter, was awarded the Cole Prize. She translated Chlore, by Nicolas Michon and Florence Longpré. Chlorine was produced by Johanna’s theatre company creature/creature at Centaur Theatre in October 2016 as part of Centaur’s Brave New Look series. Since then, Johanna has translated plays by Guillaume Corbeil and Annick Lefebvre and was chosen to be part of the first CEAD-PWM Formation en traduction program.

Melissa Bull was the recipient of the 2015 Cole Foundation Competition for Emerging Translators. Her translation of Pascale Rafie’s La recette de baklawas, The Baklawa Recipe,  opened at Centaur Theatre here in Montreal in January 2018. It was directed by PWM’s Emma Tibaldo. Melissa is already working on her second translation for the stage, the award-winning Québécois play, J’accuse by Annick Lefebvre. Melissa is the editor of Maisonneuve magazine’s “Writing from Quebec” column. She has published a book of poetry, Rue, a collection of short stories, The Knockoff Eclipse, and has translated such authors as Nelly Arcan and Marie-Sissi Labrèche.

Jordan Arseneault was the 2016 recipient of the Cole Foundation Prize. He translated Eric Noel’s Faire des enfants. His translation River Bed was given a public reading at PWM in November 2017. There has been interest in the play from theatres in Toronto. Jordan is doing a Masters in Translation at McGill University.

There were two winners of the 2017-18 Mentorship Prize – John Jack Paterson and Jennie Herbin. John Jack Paterson worked on well-known Quebec playwright, Daniel Danis’ TYA play (12 and up), Kiwi. The translation was given a public reading at PWM as well as in Vancouver at the BoucheWHACKED Festival. Jennie Herbin translated Catherine Chabot’s Table rase which was a huge hit in French here in Montreal and on tour. The English production, Clean Slate, produced by Talisman Theatre had a three-week run this spring at Théâtre La Chapelle.

The 2019 Recipient is David Gagnon Walker. David is a recent graduate of the Playwriting Program at the National Theatre School and has just started a one-year residency as Artist-in-Residence at 2b Theatre in Halifax. He will be translating Gabrielle Chapdelaine’s La retraite.

The Future of Theatre Translation

An Afterword by PWM

It has been so heartening to witness the successes of each and every recipient of this unique mentorship since its beginnings! We look forward to discovering what new projects these talented artists will tackle in the future, and to taking part in the development of emerging translators for many years to come. We can’t thank the Cole Foundation enough for their ongoing and invaluable support that allows this important work to thrive and to flourish, and promises a fruitful future in theatre translation!

Cole Foundation Logo

EstérELLE Writers-in-Residence

EstérELLE Writers-in-Residence

(Pilot Project)

When: October 12 to 19, 2019
Where: Estérel, Québec

PWM is proud to announce a new initiative in partnership with Anna Dupuis Zuckerman focused on the development of new plays by English Language Québec female and female-identifying playwrights. This seven-day residency is specifically tailored to support the development of work by mid-career playwrights, offering the time and space to think, write and exchange ideas in a quiet environment. The only scheduled events are meals and a daily late afternoon discussion session. Dramaturg Fatma Sarah Elkashef will be present for dramaturgical consultation.

Location: Peaceful, welcoming, spacious family home on Lac Dupuis in Esterel, part of the Laurentian mountains. As we approach one of the oldest stones on earth, the breath grows stronger, a wholeness, a peace settles. Memories and futures entwine, and stories reveal themselves.

Details:

– The residency will take place over seven days
– PWM Dramaturg Fatma Sarah Elkashef will be the residency dramaturg
– Focus on female and female-identifying mid-career English Language Québec playwrights
– Transportation, accommodations and food will be covered by the residency
– An honorarium will be given to each selected participant
– The menu is vegetarian, but can accommodate fish
– The residency is designated sober-living and scent-free
– No pets are allowed
– Accessibility: Uneven cobblestone driveway (not wheelchair accessible).

Accommodation details: Each participant will have a private room and quiet workspace. There are 2 shared bathrooms for 5 artists.

 

SUBMISSION GUIDELINES

Submission deadline: August 1, 2019
Notification of selected projects: August 16, 2019

In a single PDF file please send us the following:

– A short description of your project.
– A short explanation of how a 7-day writers residency would benefit the project and your work as a writer.
– A ten page sample of the play (maximum).
– A bio and CV.

Subject line of the email: EstérELLE Writers-in-Residence
Email: residency@playwrights.ca
For accessibility inquiries please contact Heather Eaton: heather@playwrights.ca, 514-843-3685

History of English-Language Drama and Theatre in Quebec, 1930-2015

English Language Theatre in Quebec

In collaboration with PWM, the Social Sciences and Humanities Research Council, and McGill University Department of English

Professor Erin Hurley of the Department of English at McGill University is researching the history of English-language drama and theatre in Quebec from 1930-2015. Her research results will be shared with the theatre community in public lectures, staged readings, and a report, and will be communicated to academic audiences in scholarly articles and as a book documenting English-language theatre in Quebec. One aspect of this project is the literary and historical analysis of the plays written in English by Quebec authors since 1930. As much of this dramatic literature is unpublished, Prof Hurley asks for your assistance in identifying and gathering such plays so that she has access to a more complete picture of the field, its authors, thematics, aesthetics, and engagements.

If you are the author of a play (or plays) and are willing to have them included in Professor Hurley’s research corpus, please contact her at erin.hurley@mcgill.ca. We can arrange to have your play scanned or, if you already have it in digital format, we can arrange for its transfer. Your work will not be shared outside of the research team and will be used exclusively for research purposes.

Submission deadline: September 30, 2019

The Glassco Translation Residency in Tadoussac: First Impressions

Tadoussac, QC

This year, translator Nadine Desrochers is participating in the Glassco Translation for the very first time. She has generously shared her first impressions about it and PWM would like to share the first of her daily journal entries with you:

 

June 12

Train

I am writing this on the train to Québec, very excited and thankful to be part of this adventure. My thoughts this morning went to the wonderful Heather Eaton at PWM, who always seemed one step ahead of us in the planning of this residency.

The tables have turned: I am the translator and Bobby Theodore is the dramaturg, PWM is hosting me as we hosted them at CEAD… How wonderful is that? I don’t think I’ve seen Bobby in… 15 years? Eh, boy, comme on dit. Leanna Brodie, of whom I always think as one big, warm, intellectual, and creative hug, will be there as well, after another once-in-a-decade meeting in October. And Marilyn, of course, ma toute belle, whose energy, talent, and heart are a gift in every instant shared.

Did I mention that I have never been to Tadoussac? Truly, the stars are aligned in the most wonderful way. And they have names: Marilyn, Emma, Heather, Bobby, Leanna… so far. What other stars will light my path in the next 10 days? I cannot wait to find out.

 

June 13

Fletcher Cottage

The ride in the taxi van yesterday went by in a flash, as we spoke of theatre, culture, identity, issues of all kinds linked to who we are, the things we speak, the voices we hear and aim to be.

The first night was spent in a shared dinner and walk along the coast, with most of us in bed by 11 – such a hard-working lot, ready and willing to get to work with an early start.

The house tells the history of a family and place, of theatre and the arts in Canada; and yet it is not a museum, it is a breathing place of ideas and meetings, of joy and memories that infuse all those who come through its many (so many!) doors and chambers.

This house, this home, makes you want to belong. And, after just one night, you feel that you do.

June 14

Tadoussac 5 à 7

Last night’s 5 à 7 was all about… me! Ouh la la…

Okay, not entirely. It was also about the play Fiel, about Marilyn’s process. She gave us a great image, as she stated that the story of a play “la cruise” – flirts with her, seduces her – and of the immense research work that goes into her projects.

Bobby started the meeting by stating how these daily gatherings were meant to be discussions about our current projects and processes, of course, but also about the relationship between playwright and translator. He then turned to me and I was up, so to speak.

I then told the ten-year history that unites me to Marilyn as a translator and it occurred to me that twice, Marilyn Perreault imagined a better, stronger, more creative version of me. She didn’t just believe in the potential of my words to reflect hers, but in my capacity as an artist, as a person. She’s the one who called me 10 years ago and asked me to translate what became Rock, Paper, Jackknife… I had answered that I had never translated a full play before, aside from what we then called a literal version (whatever that means, I see that now!) Her response was, “Ben maintenant, tu vas le faire!” and there you have it. Last year, she needed supertitles for Fiel, and when I answered that I had never translated for supertitles before… well, there you have it.

The challenge that lies before me now is to see how much of those supertitles remain when Fiel becomes the performable version Venom. But revisiting my relationship with Marilyn has put one word at the forefront of my mind: faith. More than trust, she’s always had faith in me. She challenged my talent, my capacities, my self-confidence. She challenged me. And it’s thanks to her that I have met the other playwrights who have given me their words to carry. It’s thanks to her that I am here. Merci, ma belle.