Introducing the 2022-2023 Young Creators Unit

PWM’s Young Creators Unit is now in its 8th year, featuring an exciting group of Montréal theatre artists.

With a focus on building a home for artistic risk and discovery, these nine creators have enriched the YCU experience, and will continue to do so in 2023. 

You can go into greater detail about each cohort member by expanding the information beneath their names. As the work progresses towards their year-end showcase, these profiles will tell you more about each artist, their practice, and what they’re moving through in developing their material. Stay tuned for more information on the YCU and the Showcase, taking place during the last weekend of May.


Valérie (she/her) is a recent graduate of the Dawson College Professional Theatre program. Upon graduating, she wrote, directed, and starred in her first play, Down the Rabbit Hole, which was produced at the 2022 Montreal Fringe Festival. This creation sparked her interest in all aspects of theatre making. She comes into the Young Creators Unit with a desire to find her process as a playwright and creator. Having been admitted into the 2023 Fringe Festival, Valérie will use this opportunity to craft a piece that speaks true to her (she doesn’t know what that means just yet). She is so grateful for the guidance and mentorship that Leila brings to her life, and she is thrilled to be part of such a brilliant team of emerging artists. She is excited for all the creative conversations, workshops, and feedback, and she expects this year to bring inspiration and enlightenment along her artistic journey.


Arash Ebrahimi (he/him) is a Montreal based actor, singer and an upcoming playwright. He is an alumnus of the theatre program at Dawson College (Dome), where he was the recipient of the Victor Knight Memorial Scholarship for Perseverance.

Arash was exposed to theatre at a very young age in Iran. It was then that he understood his love and newfound passion for the stage was inevitable. He immersed himself in being a part of the theatre community in Iran. However, he soon realized the political obstacles of becoming a performer in Iran. He saw the barriers that every Persian artist faced and how limited his future would have been if he stayed in Iran. 

He made a tough decision of leaving his family behind to come to Montreal to pursue his passion at a very young age. Although difficult, it was clear for him that he made the right choice. He found the Montreal theatre community very welcoming and it did not take him long to feel home. 

Selected performance credits include Fernan Gomez in After Fuenteovejuna (Dawson Theatre),  Timothee in Douche Ex Machine (Theatre Sainte-Catherine), Menachem in Our Class (Dawson Theatre) and Oberon in A Midsummer Night’s Dream (Dawson Theatre). 

When not performing, Arash teaches theatre to some theatre loving kids at Stagecoach. He is also interning at Geordie Theatre School to soon become a permanent teacher. Arash thinks of theatre as a way of expressing human emotions and connecting with others and he strives to share this experience with others. 


Casey Marie Ecker (she/her) is a multidisciplinary artist with many feathers in various caps. Born in Manhattan, New York, her love of the arts was generational. Her mother, a classical trained singer, had Casey in ballet classes at 4 years old. Later on, she attended Fiorello H. LaGuardia for Visual Arts. Casey had a love of musical theater and went on to study at AMDA NY. Since moving to Montreal, Casey has acted in two plays during the Fringe Festival and worked on numerous commercials. During the pandemic, she turned to writing as a form of therapy. Her bread and butter is introspective dark comedies in a slice of life setting. She is beyond grateful to be a part of such an intimate community of creators at YCU!  If you’d like to see her act, she will be starring in Contact Theater’s production of “Reefer Madness” in April 2023.


Tyson Fraleigh (they/them) is a writer, playwright, and theatre educator based in Tiohtià:ke/Montreal. Their work is primarily in horror, exploring questions of the nature of the terrifying realities we live through every day, and finding the hope to continue on. 

Their past writing credits include Foolish Endeavours production of The Mentorship for the St. Ambroise Fringe Festival, and ACT Concordia’s productions of Swimming Solo, Carry On, and Only Human. Tyson is also a voice actor, giving life to characters on October Jones & Fish with Legs, Sidequesting, and The Rook & The Rascal.


Kay Komizara (she/her) is an improviser and theatre creator who has directed, produced, acted and written shows of her own since 2013. Raised on the west coast, Kay moved to Tio’Tia: Ke in 2017 to pursue her obsessions of storytelling and games by working in the video games industry. With no formal education, Kay Komizara educated herself by creating shows, taking workshops with individuals from across the country, and by working with institutions like Teesri Duniya Theatre and now Playwright Workshop Montreal’s Young Creator’s Unit. Kay is highly motivated by her Anarchist leaning politics and looks to more unconventional narrative mediums like advertising to understand how her storytelling can be made more effective. In the end every one of Kay’s works have the same goal, to create stories that inspire others to forge their own. Kay is currently working on her most ambitious play yet, After the Orgy: A Hyper-Real Tragedy.


Born and raised in Montreal (the unceded traditional territory of the Kanien’kehà:ka known as Tiohtiá:ke), Corbeau Sandoval (he/they) has been an artist at heart from the beginning. From music to drawing to animation and now to the stage, they’ve explored many ways of artistic expression that have propelled them to solidify themself as a theatrical artist through their stay at Dawson College. Most notably, they’ve had the chance to play as Lysander in A Midsummer Night’s Dream, compose original music for the production of After Fuenteovejuna, and present a snippet of a piece at their end of year graduate showcase. 

At this point in their budding career, they’re ready to put their pen to paper and allow their storytelling ideas to come to life with jubilance through their first theatre piece, It Sticks to the Ryver.


Katharine dos Santos (she/her) is a 2nd generation immigrant of mixed ancestry, currently making a home in Montréal, Québec (Tiotià:ke). Born and raised in southern Ontario, she first began exploring live performance through acting and directing. A curious reader, she earned her BA in English Literature from Western University and also had the privilege of taking several performance creation courses at Concordia University. More recently, her love for nature and concern for food security led her to immerse herself in regenerative agricultural projects across Canada. She is now back in the city and ready to flex her storytelling muscles; she is particularly interested in exploring ritual, the theme of forgiveness as an active process, and how we might express authenticity through movement. Her current work-in-progress, “The Land of Lost Things”, is a non-linear exploration of dispossession, grief, and community. Thanks to the entire team at PWM as well as Leila and the YCU cohort for making so much possible and bringing joy and genuine connection into this process. 


Jeong Ung Song (he/him) is a director, playwright and producer from Edmonton (amiskwaciwâskahikan) based in Montreal (Tiohtià:ke) who aims to capture authenticity in theatre. As a writer, Jeong Ung has been fascinated with exploring his heritage as a Korean immigrant to Canada. This means telling stories based on familial relationships and personal experience, which reach into history to discover our present. In his spare time, Jeong Ung studies neuroscience at McGill. 

Through YCU he will explore the script of Miso. Miso tells the story of a Korean-American woman named Miso who is living in LA during the LA riots of 1992. We witness the event of the riots through Miso’s interpersonal interaction with her black boyfriend and her overprotective mother. Throughout the play we see Miso’s evolution as a character as she experiences love, regret, outrage and triumph.


Ella (she/her) is an interdisciplinary theatre artist interested in dramaturgy, playwriting, new play development, sound design, and somatic theatre practices. She studied playwriting at The Theatre School at DePaul University where her work was produced as part of the Wrights of Spring Festival. In 2021 she graduated from Concordia University where she worked as a research assistant on the Performative Urbanism Lab’s Feminist Performance Creation and the City Project. Ella is excited to learn more about what it means to write a play, how arts organizations can serve communities, and how performance can be useful. She was born outside of Philadelphia, grew up in central Vermont, and is happy to be in Montreal!

Headshots by Emelia Hellman.

ThE YOUNG CREATORS UNIT is financially supported by
Canadian Heritage
Zeller family foundation

Meet 2023-2025’s AMPLIFIER Playwright


hi hi hi. my name is chadia, and I am a multidisciplinary artist currently based in Tiohtià:ke.

Before moving to Tiohtià:ke to pursue my artistic endeavors, my parents and I immigrated from a refugee camp in Turkana, Kenya to the Algonquin land. being the eldest of five to two African no- BURUNDIAN parents… *deep therapeutic sigh* art was not something they had in mind when deciding to seek refuge, and build capital in this deeply, cold country. ALSO, gay/queer/gender non-conforming AND having no filter? A doomed future… said “yes!” to ‘doom’, ditched one university for another, I received my B.A in theatre (2019), and booked my first professional acting gig with geordie productions by embarking on the 2playtour. 6 and half months into the tour, the tour was canceled due to the “panasonic” we are living through. However, throughout the “peppa pig” I was able to work with some pretty amazing artists on projects such as most recently, from the stars in the sky to the fish in the sea adapted by Gabe Maharjan (2022). Aside from performing I am also a playwright, director, and singer. I had the chance to showcase my first play, “niggas in pontreal1” at MLTFringe (2022), where I was also the director, co-producer, and ⅕ of the performers. We were nominated for 3 Frankie Awards including Most Promising English Text, Best English Comedy, and Best English Production. I have since then, been focused on creating and collaborating with artists on finding the essence of what is “canadian theatre”… I strive to create and support works that instigate conversations and challenge societal norms.

instagram: @dissruptivtheatre, @chadiaisdissruptiv

about the project

niggas in pontréal¹: ACT I is a court-based play, that questions 3 out of the 5 students accused of planning a secret blackface-themed party, while simultaneously prepping, and providing the reader/audience tools in approaching the 2nd part of the project. whose to blame?: ACT II is THE “evidence-based” play. The play provides the reader/audience context, and a firsthand account of the crime accused. 


I write for negros. I am writing for black readers. I am writing for black actors. I am writing for black directors. I am writing for black audience members. My characters can only be played by black actors. What does that do? This project will be exploring how justice can be presented through art, examining and reflecting on the role of violence, and how can that be presented with thought, care, and compassion. Is violence even necessary? How can we navigate and talk about the violence associated with anti-blackness? Can violence be depicted through the black body without it being at the expense of the black psyche? Is that possible?  How can I as a playwright ensure that the story I’ve written is told and processed with compassion, empathy, joy, and truth? Not just for the text itself, but the making of that process? What sort of… responsibilities do we have as playwrights? I’m seeking to create content that advocates, questions, and exercises those points.

AMPLIFIER is a program by Playwrights’ Workshop Montréal (PWM), LA SERRE–arts vivants (LA SERRE) and the Conseil des Arts de Montréal (CAM) which offers sustained dramaturgical and artistic support to one working playwright residing on the island of Montréal. Over the course of 2 years, this will include dramaturgical consultation, a creation workshop, and a creation production residency which is followed by a laboratory presentation.

The program aims to support the artistic practice of theatre artists who identify as Indigenous (First Nations, Métis, and Inuit), Black, POC,  racialized including 1st or 2nd generation immigrant artists (as defined in the Conseil des Arts de Montréal’s glossary) working creatively in one of Canada’s official languages. Additionally, it seeks to foster dialogue between Montréal’s English- and French-speaking theatre communities, as well as intercultural exchanges and greater representation for culturally diverse artists within the theatre community and on Montréal’s stages.  This is the second iteration of PWM’s Amplifier program, after first supporting the work of Sylvia Cloutier.

The program is designed to alternate the language it runs in every two years between the partner organizations who run it, with PWM facilitating through the name AMPLIFIER, and le Centre des auteurs dramatiques conducting Voi.e.s.x Théâtrales.

this program is a partnership between
PWM logo

PWM Writers’ Room Expands to Welcome d/Deaf writers

Starting on January 19, 2023, the Writers’ Room will include d/Deaf artist Sage Lovell, founder of Deaf Spectrum, as co-facilitator. Sage will join current hearing facilitators Corrina Hodgson and Fatma Sarah Elkashef in order for the Writers’ Room to welcome d/Deaf writers. 

PWM has been consulting with Sage to consider how to support a mixed group of d/Deaf and hearing artists, through facilitation and ASL-English interpretation. Sage will co-facilitate monthly ASL-accessible Writers’ Room sessions, at which there will be ASL-English interpreters. In order to meet everyone’s access needs, the facilitators of PWM’s Writers’ Room have co-created this set of guidelines and expectations for interacting as d/Deaf and hearing artists in our virtual space.

You can watch these guidelines in ASL here:

During the Writers’ Room gatherings we connect to catch up, speak about what we are working on, and share tools and inspiration. If you have not been able to write or are struggling with your practice, you are also welcome to join us.


January 5
February 2
March 2
March 16
April 13
May 11

January 19
February 16
March 30
April 27
May 25

10 am – 10:30 AM – check-in and Say Hi
1 pm – 2 PM – Lunch COnversation
DROP-IN HOURs — 11 am – 1 pm

Conversations pertaining to chronic illness, chronic pain, disability and other systemic barriers to creativity and creative practice are welcome in this space, particularly during our drop-in hours. The drop-in hours are between 11am – 1pm. We welcome you to stop by and chat about what you are working on with drop-in facilitator Corrina Hodgson. Sage will be joining Corrie during the ASL-accessible sessions.

The Writers’ Room takes place over ZOOM. Auto-generated captioning will be available for participants to turn on or off as they wish and facilitators will enable the multi-pin feature. 

To sign up for the Writers’ Room, fill out the Google Form through the link below to let us know you’re interested. You’ll be asked for a little information about yourself and to read our Safer Space guidelines. Once that’s done you’ll receive email notifications with details for each scheduled Writers’ Room, as well as access to our shared Google Calendar.

If you have any questions regarding accessibility, or require assistance with the form, please contact Heather If you have any other questions about the Writers’ Room please contact Sarah

For more information about the Writers’ Room click here.

Building Your Grant Proposal, with Jesse Stong

APPLICATION DEADLINE: January 30th, 2023, 11:59 PM.

This hands-on workshop will give participants the chance to articulate their project outlines with realistic timelines and budgets, with tips on writing innovative and authentic project proposals. 

Participants will build the foundation of their project grant, in a shared Zoom room with collaborative feedback. They’ll learn more about where to apply and when, and how to build a clear and powerful application by developing dynamic writing samples. By the end of these sessions, each participant will leave informed on how to seek diverse sources of funding, with guidance on partnership-building for the future of their proposed project. The workshop is infused with motivational insights – how to empower and even enjoy grant writing. Lastly, each participant will get one-on-one time with the facilitator for some intensive and individualized support.

“Building Your Grant Proposal” is co-presented  by Playwrights’ Workshop Montréal (PWM) , the Quebec Drama Federation (QDF), and le Conseil de la formation continue (CFC).


Tuesday, February 28th, 2023, 1PM to 4PM
Wednesday, March 1st, 2023, 1PM to 4PM
Thursday, March 2nd, 2023, individually scheduled one-on-one time
Friday, March 3rd, 2023, individually scheduled one-on-one time



NOTE: The workshop is participatory in nature. Those taking part should come to the workshop with a project/residency idea that they are genuinely interested in developing a grant proposal for. This idea can be fully developed or a seed of a new project. An integral part of this workshop is in supporting the ideas of others and contributing to the group discussions. Participants should be available for the duration of the time scheduled. 


Applications, or questions, can be sent to with the subject line: Exploring Practice with Jesse Stong. Audio and video applications are also welcomed. 

Those interested in participating should provide the following information, no longer than one page or 6 minutes of material:

  1. a paragraph about you
  2. a paragraph about your project 
  3. your history/experience with grant writing (if applicable; having none is fine)
  4. any specific areas of concern or questions, in regards to the workshop, your project, or your current direction in finding funding

If you have any questions regarding accessibility, or require assistance with this application, please contact

Apply before January 30, 2023, at 11:59 PM

The workshop is open to playwrights and other interested theatre makers. 

Participation is free. Workshop participants are selected based on the need of each project seeking grant assistance, and complementary experience of the applicants. We encourage all levels of experience to apply.

PWM is committed to creating an environment where all individuals are treated with dignity and respect.  We are continuously working to make all of our programs accessible and inclusive. While recognizing that the identity of each person is fundamentally plural, and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.


Jesse Stong (they/them) is a proud parent of twins, a graduate of Playwriting from the National Theatre School of Canada, and received a Master’s in Art Education from Concordia University. They are an award-winning queer creator, dramaturg, and educator. Over the years, Jesse has supported over 140 emerging Canadian storytellers as director of our Young Creators Unit.  Jesse also leads our New Stories Project for Neurodiverse Storytellers. Jesse is an occasional content creator/editor for Moment Factory, and was recently Manager of Children’s Programming for, Associate Curator for the National Arts Centre Disability Summit, and Host of the Montreal English Theatre Awards.

Headshot photo credit: Emelia Hellman

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The Dramaturgical Process: First Principles and Practical Applications, with Andrea Romaldi

APPLICATION DEADLINE: January 6th, 2023, 11:59 PM.

There are as many ways to make a play as there are playwrights.

But how do you make a play? How does a play work, from moment to moment, to create narrative and meaning? What makes for a good foundation? And how do the choices you make as a writer ultimately shape the architecture of the production?

Join Andrea for an investigation of her dramaturgical process and day-to-day practice, including the opportunity to work on short scenes offered by workshop participants. You will encounter new perspectives, questions, and tools that you can apply to your writing and dramaturgy in pursuit of your own unique artistic vision.

The workshop is open to playwrights, dramaturgs and other interested theatre makers.


Monday, February 6th, 2023 from 6PM to 9 PM
Thursday, February 9th, 2023 from 6PM to 9PM
Monday, February 13th, 2023 from 6PM to 9PM
Thursday, February 16th, 2023 from 6PM to 9PM
Monday, February 20th, 2023 from 6PM to 9PM

NOTE: Participants will be assigned scenes from plays to read between sessions at a maximum of 2 hours. This preparation is central to the workshop.


7250 Clark Street, #103
Montréal, QC
H2R 2Y3

Click here for accessibility information and video tours of our location.

If you have any questions regarding accessibility, or require assistance with this application, please contact


Applications or any questions can be sent to, with the subject line: Exploring Practice with Andrea Romaldi.

Please include:

1. A bio and/or artistic CV.

2. A brief (1-2 paragraph) statement explaining why this workshop interests you, how it is relevant to your practice as a writer or artist, and what your expectations are.

3. Optional: Playwrights are invited to share a scene of their own work, and have it briefly “dramaturged” during the workshop with Andrea facilitating the discussion. If you wish to submit a scene for this purpose, please include it in your application, and answer the following: what is the problem you’re encountering in writing this scene?

We can’t guarantee that your scene will be selected for discussion during the workshop.

Participation is free. Workshop participants are selected based on the complementary experience of the collective group. We encourage all levels of experience to apply.

PWM is committed to creating an environment where all individuals are treated with dignity and respect.  We are continuously working to make all of our programs accessible and inclusive. While recognizing that the identity of each person is fundamentally plural, and multidimensional, we strongly encourage applications from artists who are: Indigenous (First Nations, Métis, and Inuit), Black, POC, racialized (including recent immigrants), 2SLGBTQQIPAA+, neurodivergent, disabled, living with chronic illness and/or chronic pain. PWM is strongly committed to supporting a wide range of cultural identities and lived experiences, therefore we encourage applicants to self-identify in their application if they are comfortable doing so.


Andrea Romaldi is a dramaturg, teacher, and artistic leader who, during her two-decade career in theatre, has also worked as an independent producer and director. Since 2017, Andrea has been based in Montreal, where she is the Director of the Playwriting Program (English Section) at the National Theatre School of Canada.  She was the Artistic Director of Hudson Village Theatre’s 2018 season, and chaired Infinitheatre’s Write-On-Q Playwriting Competition Jury in 2020.  Prior to her arrival in Montreal, she spent ten seasons as Literary Manager at Toronto’s Tarragon Theatre, directing the theatre’s extensive roster of play development programs, and assisting in the development of over eighty new plays, with almost thirty produced.

They include Governor General Award nominated plays by Sean Dixon, Brendan Gall, Jonathan Garfinkel, Michael Healey, Joan MacLeod, and Hannah Moscovitch, and Governor General Award-winners Erin Shields and David Yee; eleven Dora Award Outstanding New Play nominees and three winners; and a Trillium Book Award winner. Throughout her career, Andrea has been a regular panellist for the Directors Lab North, and contributed a chapter entitled “Master Class: Dramaturgy and New Play Development” to the book The Directors Lab edited by Evan Tsitsias (Playwrights Canada Press 2019). She has mentored both graduate students and professional theatre makers through university training programs, internships, and play development programs at a variety of theatres. Previously, she has worked with Brian Quirt at Nightswimming and with Maureen Labonté and Neil Munro at the Shaw Festival, and contributed to Canadian Stage’s inaugural Festival of Ideas and Creation. Andrea also participated in workshops at the National Theatre Society (Dublin) while she pursued her MPhil in film and theatre at Trinity College, Dublin.

Headshot photo credit: Maxim Côté

This workshop is financially supported by
Compétence Culture Logo

IMPACT CREATION – Celebrate the past year at PWM, and support our work today!

As 2022 comes to a close, we at Playwrights’ Workshop Montréal have been reflecting on the past year’s accomplishments, and planning for next year’s programming with anticipation. It’s an exciting time to announce IMPACT CREATION, our yearly campaign to uplift and support the work we do.

PWM will always be a place for artists in theatre, emerging and established, to connect and reconnect. Being a national hub for new play development in English-theatre is a unique mandate for a Montréal-based organization. Donating to us provides a lasting gift to our artistic communities, both here at home and across the country.

Donations help us realize our core activities. Each year, that typically includes: 

25-30 development workshops, where everyone in the room (playwrights, dramaturgs,  translators, actors, directors and so on) is paid.

50-75 one-on-one dramaturgical consultations, offered to writers and theatre-makers free of charge.

10-20 mentorships that connect emerging artists with established workers in the field, offered to emerging artists free of charge.

2 national residencies where playwrights and translators are paid an honorarium, and all travel, accommodation and meals are provided by PWM. 

And much more!

Help us reach our goal of $5000 by the end of 2022 by donating today. 

We’re continuing our tradition of giving back to the folks who can support our work regularly.  Donors who give $15 or more per month for one year receive the gift of a published play developed in collaboration with PWM, autographed by the playwright! Monthly donations allow our work to be more responsive to the changing needs of projects and artists, by providing us with steady income we know we can count on.

*Gifted editions vary.

Our Interconnected Community Crossword

We recognize not everyone in our community may be in a position to give. We’re happy such a large part of our yearly tradition is something everyone orbiting PWM can enjoy:

Our annual year-in-review crossword puzzle (drawn up by our Program Coordinator, Heather Eaton), spells out the qualities of interconnectedness in our organization! 

Made from words gathered from last year’s collaborations, showcases, notable titles and names, you can complete this puzzle by reviewing our programming details and news updates, as refreshers on what we’ve been up to. Use your PWM know-how to fill in the connections. 

You can fill in and “SUBMIT” through the app above, or by printing, pencilling, and sending a picture of the completed puzzle to

You’ll be entered into a draw, with a chance to win your choice of one of the following published plays developed in collaboration with PWM! Be sure to give it a close look over, as you can only submit once. If you leave and come back, your progress will be saved on this page.

Controlled Damage by Andrea ScottOkinum by Émilie MonnetSome Blow Flutes by Mary VingoeThe Law of Gravity by Olivier Sylvestre and translated by Bobby TheodoreAndy’s Gone by Marie-Claude Verdier and translated by Alexis DiamondThe Enchanted Loom by Suvendrini Lena and translated by Dushy GnanapragasamEverybody Just C@lm the F#ck Down by Robert Chafe.

Keep an eye on our social media in the month of December for some direct clues and answers!

The value of a donation to Playwrights’ Workshop Montréal.

Our organization values the creative process first and foremost, and ensures our collaborating artists can do their best work.

A key revelation that came about during the pandemic was how much work remains to be done to make our world a kinder, more inclusive place. We’re working toward greater accessibility in our programming and communications – for instance, we are particularly excited about welcoming both d/Deaf and hearing artists to the Writers’ Room in 2023. Growing our initiatives for capacity-building, such as integrating ASL interpretation into more of our programming, requires the growth of our funds, as well. 

Your support is vital to the work we do and we hope you can play a key part in creating new works for theatre by helping us reach our goal of $5000 by the end of 2022.