Join us for a public reading of a new play

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I Am Byron by Don Druick

Directed by Jesse Stong

Date: Friday, November 16, 2018
Time: 7PM
Venue: PWM Studio, 7250 Clark Street, Suite 103, Montreal, QC  H2R 2Y3
This is a FREE event. Donations are welcome at the door.

Limited seating. Click here to RSVP.

About the play:

Situating Byron – a narcissist, a desperate celebrity now in a tizzy on the cusp of his quickly disappearing twenties. Situating Byron – a mind at the edge, mired in fear and confusion.

Striving, ambition, desire are at the core of our sense of ourselves; this is what we believe we can do – for better or ill – to achieve, to strengthen our lives. To make these lives of ours better, more productive, and yes, happier. To assure our position in the world as we continually confront the unkind face of a bleak universe. The melancholy of the human condition.

The failure of Byron to be other than what he would wish; on his way to a future he’s not keen to experience, but must. This is at the heart of my play, its tragedy: Byron’s regret, Byron’s relief. And like all species of tragic tropes, my play ends badly for Byron.

Don Druick:

– un montréalais – award winning playwright, translator & librettist – baroque musician – gardener and chef

In a career spanning more than 50 years, Don Druick’s plays have been produced on stage, radio and television in Canada, Europe, Japan, and the USA.

Don lives in Elmira, a small Mennonite farming town near Waterloo Ontario, with artist Jane Buyers.

Protective Practices for Playwrights

ExplorinPractice with Robin Sokoloski

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For the first time ever, we will be offering a livestream of an Exploring Practice session. Live viewers will have the opportunity to ask questions in real time. Two 60-90 minute portions of the workshop will be streamed live:

  1. Starting roughly at 11 am ET on November 19th, Robin will familiarize participants with the basics of intellectual property and copyright law.
  2. Starting roughly at 10:30 am ET on November 20th, Robin will present an overview of production contracts (in particular premiere contracts and stock contracts).
  3. If you are interested in remotely attending these sessions, please email for more information. Please note that this a test run and may not become a regular practice.


An introduction to copyright, artists’ rights

Dates: November 19-21, 2018
Time: 10AM to 3PM
Location: PWM
Fee: $45 (Fee is not a barrier to anyone who might be interested/eligible)
Application deadline: November 4, 2018


Protective Practices for Playwrights

Through a sequence of liberating structures, Robin Sokoloski, Executive Director of Playwrights Guild of Canada will guide participants through a three-day hands-on workshop that will focus on the rights and freedoms of playwrights  within a Canadian theatre context.

The workshop will begin with an in-depth look at the rights one should know and understand about artist’s intellectual property. Participants will then be thoroughly introduced to the standard set of professional contracts (negotiated and ratified in June 2017 by Playwrights Guild of Canada and the Professional Association of Canadian Theatres). Specific clauses such as participation rights, minimum guarantees, and commissioning will be examined. Contacts that specifically pertain to musicals, theatre for young audiences and the licensing of amateur rights will be layered on to what has been already learned. The end of the day will involve a peer-to-peer consulting activity to exercise what has been discussed throughout the day.

Day two will look at engaging other creators and Playwrights Guild of Canada’s set of guidelines for devised and collective creation, translation, adaptation, and digital rights.

During day three, participants will have the chance to further develop their negotiation skills. Robin will meet each participant individually and will talk them through the first phase of a contract negotiation.

Each participant will have access to a digital package of contracts and an optional one-on-one contract clinic after the workshop has taken place with Playwrights Guild of Canada at the time of their choosing.

Application guideline: To apply for this training, please submit a bio and CV, and a short (1-2 paragraph) statement explaining why this subject interests you or how it is relevant to your practice.
Please send applications to
Subject line: Exploring practice with Robin Sokoloski
Application deadline: November 4, 2018


ROBIN SOKOLOSKI has been the Executive Director of Playwrights Guild of Canada (PGC) since 2010.

As Executive Director, Ms. Sokoloski has taken part in the organization’s triennial contract negotiations, launched the Canadian Play Outlet (a book store dedicated entirely to Canadian Plays), fostered a growing national awards program for playwrights, the Tom Hendry Awards, and led major changes within the organization. Recently, she spearheaded a research initiative on digital rights for playwrights.

As a facilitator, Ms. Sokoloski utilizes liberating structures to convene and engage participants in animated conversations on a variety of topics pertaining to the arts sector.

Ms. Sokoloski remains committed to ensuring Canadian artists are treated fairly and are informed of their rights. She volunteers for various arts organization as a way of staying connected to the arts community and ensuring public access to artistic experiences. She currently Chairs Access Copyrights’ Membership Advisory Committee, sits on Ryerson University’s Centre For Free Expression Advisory Committee, and is a founding member of Mass Culture/Mobilisation Culturelle.


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Dramaturgy with Katalin Trencsényi

Exploring Practice Intensive Katalin Trencsényi

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Join us for a deep exploration of the art of dramaturgy
with acclaimed dramaturg Katalin Trencsényi

Dates: September 24-28, 2018
Time: 10AM to 6PM
Location: PWM
Fee: $50 (Fee is not a barrier to anyone who might be interested/eligible)
Application deadline: August 27, 2018
Number of participants: 8 people (maximum)

This bi-lingual (English/French) week-long training is aimed at mid-career dramaturgs, who are at the point in their career when it would be beneficial for them to pause and take stock of their knowledge, examine their practices and refresh their theories. Led by dramaturg, theatre-maker, and researcher Katalin Trencsényi, this training offers an environment for shared knowledge for dramaturgs to engage with each other, exchange skills and practices, and deepen their knowledge of dramaturgy through collaboration.

As an antidote to quick fix wonders, this week-long engagement offers ‛slow dramaturgy’: to carve a week out of our overloaded schedules (when we mean to have that conversation or read that article or watch that show, but never get there), and will take time to re-focus, re-centre, and re-organise our knowledge in a shared learning environment. Working in a small group, we’ll engage with one another, discuss theory and practice, have our own ‛surgeries’, examine our ‛toolboxes’, and discuss and explore what dramaturgy can be in the 21st century. Expect discoveries to be made together – and expect to be asked for practical contribution and feedback.

Please note: this workshop is not for beginners. The work will take place in a studio theatre environment, please wear comfortable clothes as you may be asked to sit on the floor or participate in physical exercises.


Application guideline: To apply for this training, please submit a bio and CV, and a short (1-2 paragraph) statement explaining why this subject interest you, or how anti-oppression work has informed your practice.
Please send applications to
Subject line: Exploring practice intensive with Katalin Trencsényi
Application deadline: August 27, 2018


KATALIN TRENCSÉNYI (H/UK) is a London-based dramaturg, researcher and associate lecturer at the Royal Academy of Dramatic Art (RADA). As a freelance dramaturg, Katalin has worked with the National Theatre, the Royal Court Theatre, Deafinitely Theatre, Corali Dance Company, and Company of Angels, among others. Katalin is co-founder of the Dramaturgs’ Network (d’n), worked on its various committees, and from 2010 to 2012 served as its President. Katalin is the author of Dramaturgy in the Making. A User’s Guide for Theatre Practitioners (Bloomsbury Methuen Drama, 2015, Chinese language edition: National Performing Arts Center, Taipei, 2016), co-editor of New Dramaturgy: International Perspectives on Theory and Practice (Bloomsbury Methuen Drama, 2014), and editor of Bandoneon: Working with Pina Bausch (Oberon Books, 2016). For her research on dance dramaturgy, Katalin was recepient of the Literary Managers and Dramaturgs of the Americas’ Bly Creative Fellowship Grant. Katalin has a PhD from the Eötvös Loránd University, Budapest.


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Preparing Project Grants for Emerging Artists (emphasis on inclusivity and diversity)

Exploring Practice with Jesse Stong

Now accepting applications for our next training session with Jesse Stong

Dates: February 24 and 25, 2018
Time: 10AM to 5PM
Location: PWM
Fee: $45 (Fee is not a barrier to anyone who might be interested/eligible)

Using innovative, interactive activities Jesse Stong (Art Educator/Playwright) will support emerging artists to develop a strong application for their own future project grants. From seeding and exploring initial ideas to developing dynamic writing samples, and participating in group brainstorms to elaborate and articulate project outlines with realistic timelines and budgets. By the end of this hands-on sessions each participant will leave with their own completed first draft of a grant proposal, as well as many tips on finding a diversification of funding, independent fundraising strategies, and guidance on building partnerships for the future life of their proposed project.

Topics Covered

a) General Grant Writing Tips/Cautions 
b) Stress and Time Management/Infusing GRANT WRITING into your artistic practice
c) Hands-On Project Proposal Building (developing treatment, describing project)
d) Creative Activities (exploring innovative grant writing processes)
e) Expressing authentic NEED and attracting SUPPORT
f) Group Brainstorm Sessions (exploring ideas, developing proposals further in the workshop)
g) Editing and Increasing Impact (How to sharpen your grant)
h) Action planning/specific measurable steps towards grant submission
i) Ongoing Discussions/Group Sharing of Resources/Sources of Funding


  • Participants should come to the workshop with a project/residency idea they are genuinely interested in developing a grant proposal for
    (the idea can be fully developed or a seed of a new project)
  • Participants should be expected to engage with the hands-on process.
  • Participants will support the ideas of others/contribute to the group discussions.
  • Participants will leave with a clear plan to continue to process forward

Application guideline: Send a cover letter describing your interest in the sessions, a biography and CV
Please send applications to
Subject line: Exploring Practice with Jesse Stong 
Application deadline extended: February 21, 2018


Jesse Stong is happy to be back for a third year designing and leading PWM’s Young Creators Unit. Jesse is a graduate of Playwriting from the National Theatre School of Canada and is completing his Masters in Art Education at Concordia University. Jesse was recently assistant curator for the National Art’s Centre Disability Summit, and in 2016 received the Michaëlle Jean Foundation award for his innovative writing/puppetry workshops for schools and youth groups. Jesse is a proud member of the board of directors at Les Muses: Centre for dance and performance training, for people living with intellectual differences, as well as a writing facilitator for the Quebec Writers Federation.

Training made possible by


The Arrivals Legacy Project

Exploring Practice Intensive with Diane Roberts

Now accepting applications for our next training session with Diane Roberts

Dates: January 25 to 29, 2018
Time: 10AM to 6PM
Location: PWM
Fee: $50.00 (Fee is not a barrier to anyone who might be interested/eligible)

The Arrivals Personal Legacy (APL) Exploring Practice Intensive is a creative process designed for those who wish to create new works based on Ancestry and personal history. The process allows participants to connect in new ways to their authentic historic bodies as a powerful source for artistic expression, personal & cultural empowerment. The APL method is a combination of “Afrisporic” influenced performance traditions (dance, voice, movement, alignment, balance), contemporary story weaving and improve techniques that opens doors for the emergence of embodied truths drawn for critically anchored personal places. For more information, visit

Application guideline:

To apply for this training, please submit a short statement to (.doc/.rtf/.pdf) containing:

  • why you want to participate
  • what life experience you bring
  • artistic discipline and training (if any)
  • your name, phone numbers, mailing address and email
  • a small .jpg photo of yourself

Application deadline: January 12, 2018 at 5 PM


Diane Roberts is an accomplished director, dramaturge, writer and cultural animator, who has collaborated with innovative theatre visionaries and interdisciplinary artists for the past 30 years. Her directorial and dramaturgical work has been seen on stages across Canada and her reputation as a mentor, teacher and community collaborator is nationally and internationally recognized. Roberts has birthed a vision for theatre that encourages Indigenous ways of knowing as a stepping stone to creative expression.

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Subverting the canon: Writing plays as though race, class, gender and sexual orientation mattered

Exploring Practice with Corrina Hodgson

Now accepting applications for our next training session with Corrina Hodgson.

Dates: December 11, 12, 18 and 19, 2017
Time: 4PM to 8PM
Location: PWM
Fee: $45 (Fee is not a barrier to anyone who might be interested/eligible)

“The well-made play holds a mirror to society and in so doing it mirrors the very forces that oppress those of us who are not straight, white, able-bodied, men.

As a disabled, fat, queer playwright, I am obsessed with exploring ways to break that mirror through breaking traditional three-act structure.

In this workshop we will look at a number of different scripts and scenes that are utilizing Epic Theatre techniques in a variety of ways to accomplish a subject position for marginalized voices. We will look at our own work, and see if these techniques can be applied, and how our characters benefit from these applications. As such, participants should come with a completed piece that they are willing to work on and share with other members. This can be a one-act or full-length piece.” – Corrina

Familiarity with recent Montreal productions such as Tragic Queens, The Mountaintop, Angelique, and Intractable Woman is beneficial but not essential.

Familiarity with the following texts would be appreciated, as we will probably be referring to them frequently throughout the workshop:

  • Venus, Suzan Lori Parks
  • Peeling, Katie O’Reilly
  • You for Me for You, Mia Chung

There is also a certain presumed familiarity with the works of Tony Kushner, Brad Fraser, Timberlake Wertenbaker, Caryl Churchill, Sarah Daniels, and Sarah Kane.

Application guideline: To apply for this training,  please submit a bio, a short (1-2 paragraph) statement of why this particular approach to playwriting is of interest to you, the piece that you intend to work on, and a couple of sentences about your familiarity with Epic Theatre.
Please send applications to
Subject line: Exploring Practice with Corrina Hodgson
Application deadline: December 1, 2017 at 5PM


Corrina Hodgson holds an MFA in Creative Writing from the University of British Columbia. Her plays have been produced across Canada and in the US as well as on CBC Radio One. She is the past winner of the Jane Chambers International Playwriting Competition, Theatre BC’s Playwriting Competition, and has been Playwright in Residence at the University of Lethbridge, as well as on the Antechamber Writer’s Unit at Buddies in Bad Times and the Groundswell Writers Unit at Nightwood Theatre. She is one of the co-founders of the Rose Festival.

“The well-made play.
So very entertaining.
And so very dangerous.
So we can change the characters in our plays.
And we can change the orientation of those charactersAnd can “crip up” those characters.
And diversify the race and gender of those characters.
But unless and until we break the mirror, we will continue to reproduce the social forces that marginalize and deny a subject position to minority voices — even when we position them as protagonists in our dramas, reimagine the context of those dramas, or repopulate those dramas with the bodies and peoples we want to see onstage.” – Corrina

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