Call for applications: The 2019 Glassco Translation Residency

Lire l’appel en français : La Résidence de Traduction Glassco à Tadoussac 2019

Playwrights’ Workshop Montréal, in partnership with the Cole Foundation, is now accepting submissions for the 2019 Glassco Translation Residency. The residency will take place June 12-22, 2019 at Fletcher Cottage, home of the late Bill Glassco, in Tadoussac, Quebec.

The Glassco Translation Residency allows playwrights and translators from across Canada and beyond to come together for ten days in Tadoussac, Quebec, to work in-depth on their translation projects.

The chosen participants are provided with a unique opportunity to focus on their projects and to share expertise in a retreat environment. Translations into all languages are welcomed. Over the past 15 years we have supported translation projects into Cantonese, Catalan, Cree, English, French, Innu-aimun, Italian, Portuguese, Spanish, Tamil and Urdu . Award-winning translator and playwright, Bobby Theodore, will serve as residency host and translation dramaturg.

We are now accepting submissions of plays that are slated for translation. The play should ideally have had a production in its original language. At least one component of the project needs to be Canadian. We strongly encourage Indigenous artists to apply.

Please send us:

  • A description of the project which includes the name of the translator and playwright, an indication of how the Residency will benefit the project, and any details on production interest.
  • Biography of both the playwright and translator
  • A copy of the play in its original language

One of the selection criteria for translation projects will be the availability of both the playwright and the translator to attend the residency together.

An honorarium of $750 is offered to each participant. In addition, all costs for travel, meals and accommodation are covered. 

Submission deadline: April 1, 2019
Please email submissions (PDF format, 1 file only) to
Subject line: The 2019 Glassco Translation Residency

Accessibility details: The residency is in Tadoussac, Québec in an 18th century log home. There are 8 steps down to the entrance of the house. The bathrooms are not wheelchair accessible. Please contact Emma Tibaldo at with any questions or queries.

The Glassco Translation Residency in Tadoussac would not be possible without the dedication of our supporters: Residency Producer Briony Glassco, the friends and family of Bill Glassco, and the Cole Foundation. We are also grateful to Canada Council for the Arts, the Conseil des arts et des lettres du Québec, and the Conseil des arts de Montréal for their ongoing support.


In partnership with

Cole Foundation

Register Now: Structure (for Writers who Hate Structure)

Exploring Practice with Eric Micha Holmes

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Dates: March 18, 20 & 22, 2019
Time: 10AM to 3PM (15 hours total)
Location: PWM
Fee: $45 (Please contact us if this fee would be a barrier to your participation)
Application deadline: February 24, 2019

This three-day workshop is aimed at playwrights who have a project they want to revisit—or have been chronically stuck on.

Ideal applicants are emerging/mid-career writers who may be familiar with Aristotle, Freytag, and Joseph Campbell, but haven’t read them in a while—or have found them unhelpful because they work in non-traditional modes. This workshop can be used to manipulate the thinkers mentioned above toward the playwright’s own unique, innovative, and bold artistic goals. Participants will also have the opportunity to hear (small selections) of their work read out loud and discussed rigorously using the tools being developed in this workshop.

This workshop will include:

  1. Overview of dramatic structure drawing from an eclectic variety of sources from antiquity to the modern day
  2. Prompts that may include some light writing exercises to share
  3. In-depth discussion, argument, and practice

How to Register:

Send applications to: and
Use subject line: Exploring Practice with Eric Micha Holmes
Deadline to Apply: February 24, 2019
Note: Please include your CV/Bio as well as brief paragraph explaining your interest in this training.


Eric Micha Holmes is a playwright and radio dramatist whose work has been heard on the BBC (“Care Inc.“) and seen at The National Black Theatre (“Mondo Tragic,”) The New Black Fest and MCC Theatre (“Pornplay; or, Blessèd Are The Meek, ”) and New York Theatre Workshop (“Nimpsey Pink.”). He’s a Dramatist Guild Fellow, Audible Award Recipient, and resident playwright of the National Black Theater.

His mono-play, “Walking Next To Michael Brown: Confessions Of A Tragic Mulatto,” was commissioned by The New Black Fest and has toured with Barrymore-Nominated “Hands Up: 7 Playwrights / 7 Testaments” to theatres across the country including:  The Brooklyn Museum Of Art, The Red Door Theatre, Crowded Fire Theatre, The Museum Of The Moving Image, The Hansberry Project, and Flashpoint Theatre.

Eric’s Website
Interview with Breaking Character Magazine 


Training made possible by

Emploi-Québec and Compétence Culture Logos

Seeking Participants: Interdisciplinary Dramaturgy Lab

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A five-day exploration of the art of dramaturgy across three disciplines

Dates: February 4-8, 2019  (Mon.-Fri.)
Times: 9:30 a.m. to 1:30 p.m. 
Location: Studio 303 (372 Ste-Catherine West, Montreal, QC)
Participation fee: $80

This lab is open to creators, writers, choreographers, dramaturgs and interdisciplinary performance artists.

This 5-day laboratory is a gathering of dramaturgs from various disciplines to exchange best practices and fundamental aspects of live art. Led by Kathy Casey (dance), Dana Dugan (circus) and Sarah Elkashef (theatre), the lab is a space to exchange dramaturgical tools and challenges from an interdisciplinary perspective. It is an opportunity to acknowledge dramaturgy as an art form.

Application guideline: To apply for this training, please submit a bio, your CV, and a short (1-2 paragraph) statement explaining why this training interests you, how it is relevant to your artistic practice and what your expectations are for this lab.

Please send applications to and
Subject line: Interdisciplinary Dramaturgy Lab
Application deadline: January 21, 2019


Born in North Carolina, Kathy Casey began her dance career in 1979 with the Chicago Moving Company. Settled in New York in 1980, she danced for many choreographers before joining the Lar Lubovitch Dance Company in 1984. In 1989, she became a member of Susan Marshall & Company, with whom she had collaborated since 1981. From 1985-1989, she also assisted Mr. Lubovitch and Ms. Marshall in creation. Kathy Casey has danced in Europe, Asia, and North America and continues to give numerous workshops across Canada and the United States. Welcomed by Montréal Danse in 1991, she was appointed Artistic Director of the company in March 1996. A major portion of her work now is collaborating with choreographers on the dramaturgy of the works created for the company. In addition to her work with Montréal Danse, she also works as an artistic advisor with independent choreographers in the city.

Dana Dugan is an American circus artist, performer, pedagogue, and scholar based in Montreal. She was a founding member, programmer, project manager, and producer of the Chicago Contemporary Circus Festival and CirqueOFF. Dana recently completed her Master’s Degree at Concordia University under fellowship researching the circus body and its embodied knowledge. She will continue her research explorations and performance of the circus body and speculative performance narratives as a PhD student at Concordia, Fall 2018. Dana’s work reflects an agenda that advocates for socially conscious performances and alternative, queer, feminist, political narratives that cultivate agency on the circus stage.

Sarah Elkashef is a theatre artist, primarily a dramaturg, working in new play development and interdisciplinary creation. At Playwrights’ Workshop Montréal she leads the Interdisciplinary Writer’s Lab in addition to various other projects. At the National Theatre School of Canada she often works across programs as a dramaturg, creator, and teacher and in 2016 received their Bernard Amyot Award for Teaching. Sarah recently co-created a circus show for families Eat Sweet Feet, and continues to work on High Z, an immersive performance installation for planetariums based on the 2011 Nobel prize winning discovery of the accelerating expansion of the universe. Prior to settling in Canada she was the Senior Reader at Soho Theatre in London, U.K. Sarah has also been an associate producer, company manager, literary associate and more in New York City. She is a graduate of Warwick University in English Literature and Theatre (U.K.), has an M.A. in Theatre from Hunter College (CUNY, NYC), and a Graduate Diploma in Communications from Concordia University (Montreal, Canada).


Presented in collaboration with Studio 303

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Training made possible by

Emploi-Québec and Compétence Culture Logos

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: 7 p.m.
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.


Words with Will: A New Play Reading Series

Words with Will

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Presented by Repercussion Theatre, developed in collaboration with Playwrights’ Workshop Montréal

Featuring new work inspired by/dialoguing with/that talks back to Shakespeare:

Thy Woman’s Weeds by Erin Shields
Cockroach by Jeff Ho

Both plays are at different stages of development and will be evolving up until (and possibly throughout) the reading series.

For now the plays could be described as follows:

Thy Woman’s Weeds by Governor General Award winning playwright Erin Shields, is a theatrical exploration of what it means to be a woman working with Shakespeare today, and features 7 strong female performers.

Cockroach by performer-playwright and Repercussion alumnus Jeff Ho, is a solo piece about his very personal relationship to language, culture, trauma, and the canon.

Time Thy Woman’s Weeds – Wednesday, October 24th at 8pm
Cockroach Thursday – Thursday, October 25th at 8pm
Thy Woman’s Weeds – Saturday, October 27th at 8pm
Cockroach – Sunday, October 28th at 2pm
Thy Woman’s Weeds – Sunday, October 28th at 5pm

The Segal Centre for the Performing Arts – Studio Space
(5170 Chemin de la Côte-Sainte-Catherine, Montréal, QC H3W 1M7)

Tickets are Pay-what-you-Will at the door or after the reading.
Limited seating. For reservations, please contact 514-931-2644 or

Recommended age: 13+ for strong language.

Made possible by the support of Canada Council for the Arts and the Cole Foundation. Developed in collaboration with Repercussion Theatre.

Canada Council logo      Cole Foundation

Lois Brown on Genius, Paper and Microphones

PWM Interview with Lois Brown

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By Harris Frost

Interdisciplinary artist Lois Brown is currently rehearsing her new piece I Am A Genius Does Anyone Here Know Me?. The piece was developed with dramaturg and PWM artistic director Emma Tibaldo and dance dramaturg Thea Patterson. Lois spoke with us in July during her studio residency at PWM.


PWM: The piece you’re working on with us right now is called I Am A Genius Does Anyone Here Know Me?, could you tell us a little bit about it?

Lois Brown: It’s gone through a couple different iterations. A couple of years ago I was calling it The Papers Improvisation. And even before that, its roots go back to when I was an artist-in-residence here at PWM. I used to write my thoughts down on paper every morning. And then I started getting more interested in the qualities of the paper and playing with it. That then lead to me becoming interested in different objects and what they might do if I tried my best not to act on them. And also I wanted to play with the microphone, so it turned into a sonic relationship.

Now, at this residency, I brought in the composer whom I’ve wanted to collaborate with for a long time. This is our first time working together. And because so much of this piece is based on the sonic relationships between different objects, it’s been really exciting to have him here.

PWM: You’ve described this piece as a combination of improvised  and scripted elements.

Lois Brown: Yeah, there are some things that I know that want to talk about. For example, I’m talking about the value of playing aimlessly. Being able to realize the genius in things when you’re not just focused on what their functions are. So I want to combine some of my skills in writing and structuring things in a theatrical way with my interest in the way that dance practitioners choreograph pieces. I’m improvising because I don’t really know what the paper will do when I do something to it, but I’ve worked with it so long that I have a good idea of what it might do.

PWM: How did you first become involved with PWM?

Lois Brown: I came here first for a very short time, through a grant from Canada Council, back when Paul Dankert was the Artistic Director. And then, several years later after I had had an accident, Emma, who was just taking over from Greg MacArthur offered me the opportunity to be the Artist in Residence. That came at the right time for me, because I wasn’t able to get around after my accident. I’ve become really attached to this organization because it’s helped me so much and it’s become a sort of home for me.

PWM: And is that experience part of the reason you’ve chosen to collaborate with us on this piece?

Lois Brown: Yeah, but also, strangely, in my community in Newfoundland, there are very few resources available to a small, independent artist. So for me to come to Montreal to rehearse is actually easier and less expensive than if I were to stay in my own city in Newfoundland.

PWM: How has it been working with your composer/collaborator James O’Callaghan over this week? Especially since you’re involving someone new in a project that you’ve been working on alone for so long.

Lois Brown: It’s really scary, yeah. Before James came in I had a meeting with Thea [Patterson] and we laid out some of the principles on which the piece was developed, what my ideas were and what I wanted my relationship to the things to be. And then, with James we started by just going through all the different objects and playing with them separately. So I would show him what I had been doing with a particular object and then he would get up and start playing with the object himself. What he did was quite different and much more sonically sophisticated.

PWM: Could you speak a little about the title of the piece? How does it tie into what you’re doing?

Lois Brown: Well, we all learn in grade school everything is made up of the same stuff, the same matter. So I use that fact as a jumping off point to examine the way in which I’m trying to control things that happen. So for example, I’m trying to tell a story with the plastic bags but if the plastic bags do something by themselves, then that becomes more important than whatever story I’m trying to tell.

And also my dad used to wear a pin that said “I am a genius” as joke, although maybe he thought he really was a genius. He really enjoyed that you never know what type of person actually is a genius. So I guess I just think that everybody’s a genius really. But also, I want to explore the connection between genius and memory. You can appear to be really smart just because you can remember a lot of things.

I Am A Genius Does Anyone Here Know Me? will be performed at the Festival of New Dance in St. John’s on October 4th.