Uncategorized Archives - Page 8 of 12 - Playwrights' Workshop Montréal

August 17, 2023August 17, 2023

Meet the Playwrights of the Cross Cultural Adaptation Lab

PWM’s newest program, led by PWM dramaturg Aki Matsushita, began July 2023.

Through the Lab, four playwrights will create adaptations of texts from the public domain into their own specific cultural context. Exploring different approaches to adapting cross-culturally, the group will develop their plays through regular discussions, where work and feedback will be shared.

Read on for the details about each playwright and the projects they’re bringing to the Lab.

nick carpenter

Nick’s plays, radio plays (CBC), short stories and librettos have been presented across Canada, the US and Germany. Most recently, his play Arco took 2nd place in Infinitheatre’s 2021 Write-on-Q Competition. Nick wrote the screenplay to the film Maz (Rendez-vous Québec Cinéma, 2018). His play Stained Glass won the Canadian Peace Play Competition in 2008 and was shortlisted for the Prism International Residency Award (2003). He is an alumnus of Tapestry Opera’s Lib Lab, the Banff Playwrights Colony, Theatre Centre Residency and the NAC/GCTC Writers’ Unit.

Nick teaches and coaches at the National Theatre School of Canada. He has worked as a dramaturg for PWM (Playwrights’ Workshop Montreal); NACO (National Arts Centre Orchestra) and JMC (Jeunesses Musicales Canada) where he also creates mise-en-scène for touring concerts.

In 2020, Nick was nominated for two METAs (Montreal English Theatre Awards) for his work as a Musician and Supporting Actor.

As a composer and musician for the stage, Nick has worked and collaborated with the National Arts Centre; National Theatre School of Canada; Great Canadian Theatre Company; Centaur Theatre; Lucion Media; Repercussion Theatre; Geordie Theatre; CAM en tournée, The Theatre Centre; Imago Theatre; Infinitheatre; Concordia University; National Circus School; McGill and Ottawa Universities; the METAs (Montreal English Theatre Awards); Hudson Village Theatre, Theatre Lac Brome; Third Wall; Théâtre Urbi et Orbi (Urban Tales); TF1 Rock’n’Roll Circus; Monastère Cabaret de Cirque; and on Festival productions or concerts for Magnetic North, SummerWorks, Undercurrents, WildSide, Tendance Clown (Marseille) and Festival de Clowns de Montréal.

Nick is co-founder of Summersett (summersettband.com).

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Photo credit: Trine Mikkelsen

Adapting El Misteri d’Elx

Several rivers of curiosity — musical, emotional, dramaturgical and historical — have led me to El Misteri d’Elx. This giant pageant, performed every year since the 13th century in the Spanish town of Elche, reenacts the story of the Assumption of Mary. Parts of it dazzle me, parts of it bore me, parts of it baffle me, parts of it offend me. But its climax, supported by some theatrical machinery (as extraordinary as it is ancient) hits me in the heart and reduces me — rather lifts me — to tears. Somewhere along this delta of inspiration, lies my adaptation.

Peng Hsu

Peng Hsu is a Taiwan and Montreal-based theater director, playwright, actor, beginner-level animator, and researcher. Her works explore excess, bad taste, and Taiwanese perspective on lesbian/queer camp humor. Since 2020, Peng has been developing a dramaturgy for the body to move with and to act out Broke Broke Recitation, or BBR, which is her translation of a phrase used in Taiwan to describe how women ALWAYS talk NONSTOP about daily trivialities. Peng came to Montreal in January 2023 to start her Ph.D. in the Humanities Program (Research- Creation track ) at Concordia University.

King Vanya in Parenthesis (adapting from Oedipus the King and Uncle Vanya)

I propose to create a cross-cultural adaptation of two plays together, one is Sophocles’ Oedipus the King and Chekhov’s Uncle Vanya, hence the temporary title (but you can get the sense of it) King Vanya in Parenthesis. King in the title is obvious, and so is Vanya, but why parenthesis? The idea that I work with here is that in Taiwan, China, and Japan, many people use parenthesis to add on unimportant information, unrelated thoughts, and dramatic reactions (too dramatic it seems out of context, or, it’s so dramatic that it breaks away from the context of the conversation) in texting and messaging. Creating a cross-cultural adaptation of the two classics, I think, gives minoritized beings a chance to have an “old drama” that is about them, that thinks with them. I know linear genealogy is boring and not queer, but we cannot deny that sometimes it feels good to have some old stuff passed on to us. And I mean to have King Vanya in Parenthesis as that small something that travels through time and goes to a minoritarian: it feels new and it also feels old and it feels enough to be queer’s business.

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Jamila “JAI” Joseph

Jamila “Jai” Joseph is a dance performer/choreographer, singer/lyricist, actor & storyteller from Montreal/Tiohtiá:ke. Trained in Classical Ballet for over 15 years and Afro-Caribbean dance/Folk technique which she inherited and trains under her father, renowned Dance performer/Instructor Selwyn Joseph (Trinidad & Tobago) while her love for music, performance & writing comes from her mother, a former Black Theatre Workshop and La Belle Carib Montreal member Paulette Armony (St. Kitts & Nevis).

Past recipient of Black Theatre Workshops Victor Phillips award in 2003, it was a synchronic moment to be able to come back 16 years later playing the role of “Chloe”, in BTW’S mainstage production of ‘How Black Mothers’ Say I Love You’ written by Tre Anthony. Her ambition and talents also lead her to Toronto where she performed in Nicole Brooke’s Obeah Opera for both Fall for Dance North and again as part of Luminato’s Summer Festival.

The last few years has brought exciting new experiences, participating in Dancemakers 2019-2020 Peer Learning Network program in Toronto, Playwright Workshop Montreal’s Dramaturgical Digital Residency, choreographed for The National Theatre Schools 2022 production of “Venus” by Suzan-Lori Parks and was a recipient of Playwrights’ Workshop Montréal and MAI (Montréal, arts interculturels) 2022 Joint Support for Artists with her work in progress play, “Wild Roots”, a story of self-discovery and healing. This Fall Jamila steps into a new role as Movement Teacher for the Acting program at The National Theatre School of Canada, will be finishing her specialized training in Lester Horton dance technique, supported through Canada Council’s Professional Development for Artists grant, will join Playwrights’ Workshop Montreal’s newly launched Cross Cultural Adaption Lab where Jamila will bring a neo-Caribbean twist to “Alice in Wonderland”, as well as rejoining cohorts for the Arrivals Legacy Seed Pool project lead by Diane Roberts.

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Adapting Alice in Wonderland

It’s March 29^th, 2024, Aliyah, a young woman, visits her paternal family in Trinidad for the first time. She spends the day taking in the culture and relatives as they show her about and prepare for a special holiday, Spiritual Baptist Liberation Day. Aliyah learns of the Shouters Prohibition Ordinance of 1917 and the family ties to the political religious movement. At her aunts’ house in Carenage after a night of limin’ with her siblings and cousins, Aliyah falls asleep and dreams of a time before hers when politics ruled heavy over all forms of celebrations and a great trial takes place.

MEL PICKERING

Mel Pickering is an emerging actor, and playwright based in Tiohtià:ke/Montreal, Canada. Her acting career debuted in 2017 as a messenger and a chorus member in the play Camilien Houde – le p’tit gars de Sainte-Marie, written by Alexis Martin and produced by Nouveau Théâtre Expérimental. The short yet life-changing experience influenced her decision to recently complete a BFA in Acting at Concordia University. During her studies, she began working on original pieces and discovered her voice as a playwright.

As a creator, she is inspired by complex relationship dynamics and human behavior, infused with her Haitian heritage. Her approach to characters and stories explores what often remains unsaid for the sake of appearances, shining a light over the impact of such actions. Ultimately, her intention is to spark conversations people tend to avoid and she is committed to uplifting Black voices, regardless of the medium she plays with.

While at university, Mel teamed up with fellow classmates to put on a staged reading of original play excerpts titled Blood Family…Sometimes Not (under The Sky Is The Limit Collective). She has also participated in three Montreal Fringe festivals: she played Robyn in No Justice No Peace, by Blxck Cxsper from Transtrenderz Productions, in both 2021-2022 runs, and played Honeysuckle in Vers de Terre et Dents-De-Lion: A Guide To Plants, by HeadEmpty Productions. Aside from stage work, she pursues projects on screen, and voiceover work. She played Juliette in an indie thriller titled Les Nettoyeurs, produced by Pink Walls Production (unreleased).

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Photo credit: NOC Photograhy

Pyramidal Love Scheme (adapting from House of Desires)

The piece that I’m working on is titled Pyramidal Love Scheme and is based on House of Desires by Sor Juana Ines De La Cruz. It’s about seven people stuck in a house during a power outage who attempt to unstitch three love triangles woven through a series of outrageous tricks. It deals with love, acceptance, and the impact of stubbornly holding on to appearances for the sake of looking good. Throw in mistaken identities and a desire of figuring out romantic relationships in the mix. The adaptation is moving away from the heteronormative context it was created in, shifting to a queer lens. Also, the characters’ background is changed from Latin-American to Afro-Caribbean, in order to live closer to my identity as a person of color.

The Cross-Cultural Adaptation Lab is led by dramaturg Aki Matsushita

Aki is a biracial, Japanese-Canadian (nisei, second generation) dramaturg and arts educator.

She is fascinated by intercultural performance, as it fosters an exchange and seeks out connection between seemingly disparate entities, looking at the world through the lens of wanting to understand each other’s humanity across geographic, cultural, linguistic, temporal and cultural boundaries.

Find out more about Aki here.

July 23, 2023July 23, 2023

Departure for our Managing Director, Anne-Sophie Grenier

With sadness and gratitude, the PWM Board of Directors would like to share that our Managing Director, Anne-Sophie Grenier, is departing from the organization. Over the past year she has brought remarkable work and compassion to Playwrights’ Workshop Montréal, and she continues to be deeply appreciated by the team, the milieu, and of course, the board.

“Having had the privilege to recruit, welcome and follow Anne-Sophie, I was very impressed by her leadership, her vivacity, and her brilliant mind . I am confident that she can successfully manage any endeavor she feels like ! She will be missed.”

— Tiffanie Guffroy, co-president of PWM

Anne-Sophie took on the role of Managing Director at PWM in May 2022, right on time to respond to many of the annual duties of a registered charity, such as auditing, programming, and recruiting. She also brilliantly tackled the specific challenges facing PWM at the time: leading a new team in a post-covid cultural sector, and defining what a co-leadership structure would look like for the organization. She expanded PWM’s outreach and connected us with new wonderful people to contribute to the organization, including new board members. It took very little time for everyone to see that not only was she more than well suited for the role, she was an excellent fit for the team.

Indeed, whether from the team, from the board, or from our partners, Anne-Sophie was always well respected, appreciated and trusted.

“My year and a bit at PWM has been inspiring, educational, and honestly, a lot of fun. A change in personal circumstances has led to my time here being shorter than expected, but I leave PWM with a full heart, and immense gratitude.

I have deeply appreciated working so closely with Sarah in whom I found a true partner, collaborator and friend. I have the utmost confidence in the PWM team, and I look forward to continuing to support them from the sidelines as their biggest cheerleader.

Thank you to our many partners in Montreal and across the country who offered me guidance throughout the year, and who strive every day to make theatre shine. I have been deeply touched by the generosity of spirit, creativity, innovation, and passion of our staff and the many (hundreds!) of artists with whom PWM works.”

— Anne-Sophie Grenier, outgoing Managing Director of PWM.

“Anne-Sophie has worked at PWM for little over a year and in that time has made a positive and extraordinary impact on the organization and on all of us within it-she will be missed. I am very grateful to have had this opportunity to collaborate with her and I wish her the very best on her next adventure.

— Fatma Sarah Elkashef, Artistic Director of PWM.

Thanks to Anne-Sophie’s efforts, guidance and feedback, PWM is now more than ever capable of creating a safe and creative place not only for the numerous artists who take part in our projects, but also for all our employees. We look forward to the recruitment of a new Managing Director, who will work alongside our Artistic Director, Fatma Sarah Elkashef as co-leaders of the organization. While change is bittersweet, we are confident that this new chapter for PWM will be fruitful and are excited for the artistic collaborations to come.

In addition, we are proud to announce two new positions in the PWM team. Alanna Wrenshall, who joined the team in February as Admin Assistant and Program Coordinator has been promoted to the role of General Manager. Leila Ghaemi is stepping into the role of Artistic Producer, while continuing to be the Young Creators Unit Dramaturg. Alanna and Leila will work in close collaboration with Sarah and the new Managing Director, as well as the whole PWM team, to continue delivering on the organization’s mission, vision and values.

Click here to view the job posting for Managing Director.

June 16, 2023October 23, 2024

2023 Cole Foundation Mentorship for Emerging Translators

Applications to this program are currently closed. Stay tuned for news about the 2023 participant with the Cole Foundation Mentorship for Emerging Translators, and subscribe to our newsletter or follow us on social media to be the first to know about open opportunities with PWM.

Supporting the translation of new work for the stage is a core part of Playwrights’ Workshop Montréal’s (PWM) programming. Since its inception in 2013, the Cole Foundation Mentorship for Emerging Translators has been guiding the next generation of French to English theatre translators.

With the skilled guidance of acclaimed translator Maureen Labonté and in partnership with the Cole Foundation, PWM has built a program that mentors emerging translators through every stage of their process in writing a new translation of a play. The successful applicant to this year’s program will receive a $1,500 honorarium and a mentorship with Maureen Labonté, which includes a workshop with actors and a reading. The mentorship begins in October 2023, and lasts for approximately one year.

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.

If you have any questions regarding the Cole Foundation Mentorship for Emerging Translators, please contact heather@playwrights.ca.

If you have any questions regarding accessibility, require assistance with your application, or would like to discuss alternative methods of applying and deadline flexibility, please contact accessibility@playwrights.ca.

Click here to preview the application form as a PDF.

For accessibility information and video tours of our location, please click here. If you require any accommodations to participate in the program should you be selected, please let us know in your application.

Who Can Apply?

To be eligible, emerging translators must have completed at least one translation which has received a public reading, publication or production. Because the focus is on developing translators, the applicant must not have done more than three play translations.

With What Play(s)?

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 in October.

Translations must be from French into English only.

Full-length scripts, one-acts or theatre for young audiences are all welcome. Please note, our experience does not extend to the translation of musicals.

Application Process

Fill out this Google Form by August 18, 2023. You will be asked to provide the following information:

Your name, pronouns (optional) and contact information
A one-page letter of intent describing the project, its challenges, your reasons for wanting to translate the work, and how you hope to grow in your practice through the mentorship. PDF documents, video or audio responses are accepted. If submitting a video or audio response, please answer in one video/recording, maximum 5 minutes.
Your biography (maximum 250 words);
A copy of your chosen play;
Written permission from the original playwright of the play;
A 3 to 5 page sample of your previous translation work, please include the corresponding original text.

A selection committee will be reading the applications and selecting the participant for the mentorship.

All applicants will be notified of the results by the end of September.

Apply Here

IN PARTNERSHIP WITH

May 30, 2023June 12, 2023

The Resident Creators of the 2023 Glassco Translation Residency in Tadoussac

The Glassco Translation Residency in Tadoussac is taking place from June 2nd to the 13th!

The residency is known for encouraging a nuanced and generative translation process, through the collaborative unearthing of ideas embedded within plays.

Unique au pays, cette résidence, qui a lieu dans l’historique Maison Fletcher à Tadoussac, au Québec, donne aux traducteurs le temps, l’espace et le soutien dramaturgique nécessaires pour la traduction d’une pièce de théâtre.

The program plays a vital role in Canada’s theatre-making landscape, and we’re pleased to announce this year’s playwright-translator pairs. You can click on each resident’s photo to learn more about their work.

Almighty Voice and His Wife | Translation from English to French

La pièce que je me donne l’objectif de traduire est “Almighty Voice and His Wife” de Daniel David Moses, auteur autochtone Canadien anglophone qui n’a malheureusement jamais été traduit en français de son vivant et dont l’oeuvre mérite d’être reconnue dans notre province. Dans son premier acte, la pièce raconte l’histoire relativement simple de la relation entre Almighty Voice et sa femme White Girl alors que ce premier doit fuir la police montée après avoir abattu la vache d’un fermier des environs. Dans le deuxième acte, la pièce bascule de manière tout à fait inattendue dans une sorte de cabaret des limbes où Almighty Voice doit jouer le jeu d’un mystérieux Maître de Cérémonie qui semble vouloir lui faire subir toutes les injures des représentations fantasmées des “indiens” dans les différents médias coloniaux.

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Charles Bender

Translator

Daniel David Moses

Playwright

Ginkgo et la jardinière | Translation from French to Spanish

Dans Ginkgo et la jardinière, arrivées et départs se succèdent, la vie et la mort se côtoient. Entre ces passages, de petits événements surgissent : la naissance d’un oiseau, la poésie d’un coucher de soleil, la découverte d’un insecte…

Ginkgo et La Jardinière est un spectacle créé spécialement pour la petite enfance, à partir de l’âge de 4 ans. À l’origine, l’œuvre a deux racines, le Québec et la Belgique; dix ans plus tard, une nouvelle possibilité apparaît, le Mexique.

Ce texte est conçu comme une pièce interdisciplinaire entre la musique et le théâtre. Écrite pour une seule actrice (la jardinière) et deux musiciens qui représentent tous les personnages qui apparaissent : plantes, animaux et divers éléments de la nature, la pièce parcourt les cycles des saisons et de la vie elle-même, mêlant musique, chant et poésie.

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Violeta Sarmiento Marabotto

Translator

Jasmine Dubé

Playwright

Re:Construct | Translation from English to French

Re:Construct was originally written in English by Even Gilchrist for the Ottawa Fringe in 2018. In the past few years, it has undergone further development. In 2022, it was presented through Common Ground Arts Society’s Riser project in Edmonton as well as at the Edmonton Fringe Festival. It was brought to Calgary in early 2023 for One Yellow Rabbit’s High Performance Rodeo festival.

Synopsis :

“Here’s another attempt at a love letter to my younger self…”. A trans man and his idealized cis self invite onlookers to a very brave thing on the best day, the most perfect day ever. They have made you a meditation – no, a paint night – actually, no, a rumble – anything to finally get it right this time. Re:Construct is a poetic, surprising, and irreverent interrogation of perfect masculinity.

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Émanuel Dubbeldam

Translator

Even Gilchrist

Playwright

Tous inclus/All-inclusive | Translation from French to English.

Original title : Tout inclus (written in French)

Title for English translation: All-inclusive

When his parents move to an “old people’s home,” François is stunned. For his parents, and for nearly 1.5 million Quebecers, this step may well be the beginning of the end. One last all-inclusive trip, but without the sandy beaches and warm sun.

Tout inclus (English title: All-inclusive) explores questions about how we want to live in our later years and reveals the hidden world of assisted living homes for the elderly.

A coproduction of Porte Parole, Un et un font mille and the Collectif Nous sommes ici.

Tout inclus is in two parts. The first part was produced at La Licorne (Montreal) in October 2019, then at the Periscope (Quebec City) in September 2021.

The play was produced in its entirety at Théâtre Jean-Duceppe (Montreal) in October-November 2021. It is being remounted in March 2023 at Théâtre La Bordée (Quebec City).

Both parts have been published in two separate volumes by Atelier 10.

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Alexis Diamond

Translator

François Grisé

Playwright

Meet the Translation Dramaturg

We’re pleased to have Maryse Warda as the Glassco Residency’s translation dramaturg and residency host.

Born in Egypt, where she spent her childhood, Maryse Warda has been active on Quebec stages since 1992, and has translated more than seventy plays. Her work has helped introduce French-speaking audiences to many Canadian authors such as John Mighton, Morris Panych and George F. Walker. She has also translated for many American, British, Scottish and Irish authors including Howard Barker, Margaret Edson, David Greig, David Hare, David Ives, Cindy Lou Johnson, David Mamet, Arthur Miller and Harold Pinter.

In 2011, she received the Governor General’s Award for her translation of the play The Toxic Bus Incident by Greg MacArthur. Her translation of Anthony Black’s One Discordant Violin – inspired by a short story by Yann Martel – was the subject of her work at the Glassco Translation Residency in 2019 and was presented at La Licorne in the fall of 2022. In February 2023, Maryse’s translation of Stop Kiss by Diana Son premiered at La Licorne, and her translation of Cindy Lou Johnson’s play, Traces d’étoiles, is currently playing at Théâtre du Rideau vert until June 10, 2023.

Since 2006, Maryse has benefited from the wonderful Glassco Translation Residency in Tadoussac on nine occasions. This is the second summer she serves as translation dramaturg and host.

About the Residency

The Glassco Translation Residency in Tadoussac is dedicated to the art of translation for the stage.

Tout au long de son histoire remarquable, cette résidence a servi de cadre à la traduction de pièces de théâtre en plusieurs langues, notamment en cri, en cantonais, en espagnol, en catalan, en portugais, en tagalog, en anglais et en français.

The Glassco Translation Residency in Tadoussac is made possible through our partnership with the Cole Foundation’s Intercultural Conversations Program, the dedication of Residency Producer Briony Glassco, and the support of the friends and family in memory of the great Canadian theatre artist, Bill Glassco. We are also grateful to the 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.

May 5, 2023April 29, 2024

The 2022-2023 Young Creators Unit Showcase

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, this year’s YCU unit is preparing for our annual showcase! The private event will take place on Thursday, May 25th and Friday, May 26th at 7PM, each night showcasing a different group of artists.

You can go into more details on each cohort member by expanding the information beneath their names.

Due to limited seating capacity, this year’s showcase will be a closed event. To learn more about our showcase, or to be added to an attendance wait list, please contact our Programs Coordinator at alanna@playwrights.ca.

Thank you for supporting the exciting new works of emerging artists!

THURSDAY, MAY 25

JEONG UNG SONG (he/him) | MISO

Jeong Ung Song (he/him)

Email: jeong.song97@gmail.com

Artistic Pillars:

• Cultural memories

• Asian-American diaspora

• Intercultural relationships

“My mom’s not a racist, she’s just… overly careful.”

bio:

Jeong Ung Song (부천송씨) is an emerging theatre director, playwright and producer currently residing in Montreal (Tiohtià꞉ke). He was born in Bucheon, South Korea and has an artistic background in Edmonton (amiskwaciwâskahikan). A recipient of Cultural Diversity in the Arts grant by the Edmonton Arts Council, he is interested in developing stories within his cultural memories. In the past, he directed Star Spawn by Erik Richards (ReadyGo Theater), CHANZO by Mukonzie Musyoki (ReadyGo Theater), Constellations by Nick Payne (ReadyGo Theater), Bash’d: A Gay Rap Opera by Chris Craddock and Nathan Cuckow (Flaming Peanuts Theater).

He is also producing several independent films which aims to decolonize love through Asian-Canadian perspectives. In his spare time, Jeong Ung studies neuroscience at McGill University.

Play description:

The story of a Korean American woman named Miso during the LA riots of 1992. Witness the event of the riots through Miso’s interaction with her Black boyfriend and her overprotective Korean mother. Experience frustration, solidarity, and marginalization of being a minority in the 1990s. By reflecting on the relationship between Korean and Black Americans during the 1990s Miso asks: what changed? What did not?

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CASEY ECKER (she/her) | EMMA

Casey Ecker (she, her)

Email: caseymecker@gmail.com

Artistic Pillars:

• Humour in truth

• Immigration

• Unpacking privilege

• Being vulnerable.

bio:

Casey Marie Ecker is a queer multidisciplinary artist and performer. An American transplant with a passion/history in the arts!

play description:

A modern retelling of Jane Austen’s infamous matchmaker. The story follows our title character Emma as she navigates her way through privilege and the bilingual advertisement world of Montreal, Quebec.

“This is Emma Woodhouse’s world. We just live in it.”

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CORBEAU SANDOVAL (he/they) | IT STICKS TO THE RYVER

Corbeau Sandoval (he/they)

Email: andreas.scal@gmail.com

Artistic Pillars:

They aim to create pieces that are effervescent, grounded, jubilant, and focused on changing assumed realities.

“Twas some time ago, upon this growing field at the peak of morn. Thou were’t spread unto the grass, laying, basking in light, albeit not properly as thy visage was smack’d upon the earth.”

BIO:

Born, raised, and based in Montreal (the unceded and traditional territory of the Kanien’kehà:ka known as Tiohtiá:ke), Corbeau Sandoval is a multidisciplinary theatre artist and alumni of Dawson’s Professional Theatre program. An emerging artist of the industry, they’re exploring and solidifying their craft as a storyteller in many facets. They’ve composed original music for After Fuenteovejuna, showcased their play Off-ish through NTS’s public playwrighting class, produced two short skits for Dawson’s medical symposium, and featured in various shows such as AUTS Mcgill’s Hair the Musical, Lucy Gibb Smith’s original podcast Darkstead, and the original short film Midnight Dove. With this year’s Young Creator’s Unit, they are excited to showcase their newest piece It Sticks to the Ryver.

PLAY DESCRIPTION:

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ARASH EBRAHIMI (he/him) | A RASH

Arash Ebrahimi (he/him)

Email: arash.himi@gmail.com

Artistic Pillars:

• Intercultural dialogue

• Exploring styles

• Engaging with the audience

BIO:

Arash Ebrahimi is an 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. However, he soon faced the political obstacles of becoming a performer in his country. At the age of 17, He made the tough decision of leaving his family behind to pursue his passion. He found the Montreal theatre community very welcoming and it did not take him long to feel home.

PLAY DESCRIPTION:

Arash, a struggling actor determined to make it big. His life takes an unexpected turn when he meets the love of his life. But as fate would have it, their love story is nothing short of a rollercoaster ride filled with laughter, tears, and a few twists and turns.

“I’m gonna tell you a secret boy. In this business, if you wanna make it, you gotta either sing, dance or be funny. You can’t sing for shit. You probably dance as good as you sing. And you’re boring as fuck which means you ain’t funny.”

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VALÉRIE BOISVERT (she/her) | WHO, ME?

Valerie Boisvert (she/her)

Email: valerie_greenwood@hotmail.com

Artistic Pillars:

The use of comedy and psychology to explore the highs and lows of human relationships to themselves and society.

“The reason I existed for four hundred and sixty six pages is because my life wasn’t perfect. There was always something to work on, some new objective to look forward to. That’s why the moment I got everything I wanted, you gave up on me.”

BIO:

Valerie Boisvert is a bilingual, emerging theatre creator and actor born and raised in Montreal. Upon her graduation of Dawson’s professional theatre acting program, Valerie wrote and acted in her first play, Down the Rabbit Hole, which she produced under her theater company, The Loose Cannons at the Montreal Fringe Festival of 2022. It is under this company that she will be putting on her second Fringe play, Who, Me?, a comedic solo-show about finding one’s identity through fanfiction, which she has been developing at the YCU. Come see a small snippet of Who, Me? showcased at PWM (and then come see the full thing in June at the Montreal Fringe!).

PLAY DESCRIPTION:

A comedic solo-show about the discovery of one’s identity through fanfiction. Valerie, amid cleaning out her childhood bedroom, finds a notebook she used to write fanfiction in as a teen. All’s well until the notebook comes to life, bringing alive all the characters Valerie has written in her past, and they’ve got quite the bone to pick with her.

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FRIDAY, MAY 26

TYSON FRALEIGH (they/them) | THE MENTORSHIP

Tyson Fraleigh (they/them)

Email: tysonfraleigh@gmail.com

Artistic Pillars:

• Social commentary

• Satirical exploration

• Introspective horror

BIO:

Tyson Fraleigh is a writer and playwright based in Tiohtià:ke (Montreal). Their work focuses on the mundane horrors that fill our day-to-day lives and how to survive them. Their past work includes The Mentorship (2022), Only Human (2019), Carry On (2018), and Swimming Solo (2017). Their artistic pillars are research-informed creation, social commentary (satirical or serious), and taking the piss out of stupid ideas.

PLAY DESCRIPTION:

Indie film director Laurie is ready to enter the big leagues. When she is invited to dinner with legendary director-producer Charlie Jones, Laurie is ready to do anything to impress. But when Laurie and her partner Harper arrive at Charlie’s home, the night quickly descends from a simple interview into mind games and abuse. In the face of endless cruelties, will Laurie end this twisted cycle… or continue it?

“That’s why you are a director, Laurie. Because the world pushed you and pushed you and pushed you, but you kept getting back up. You can only be genius if you are flayed alive. And now, it is our turn for butchery.”

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KATHARINE DOS SANTOS (she/her) | THE LAND OF LONGER TWILIGHTS

Katherine Dos Santos (she/her)

Email: kath.a.dossantos@gmail.com

Artistic Pillars:

• Somatic movement

• Playwriting

• Feminist methodologies

“Why is Dad cutting down the trees? This is a good set-up we finally have going. Ken’s doing fine out there! He has shelter, you bring him food… What more could he need?”

BIO:

Katharine dos Santos (she/her/elle) is an emerging writer, performer, and theatre-maker based in Tiotià:ke/Montreal. Originally from southern Ontario, she spent her childhood immersed in imagined worlds amidst stacks of library books, eventually stumbling into live performance, where she was struck by the joy and community that arises out of creative collaboration.

As a queer and biracial second-generation settler, Katharine is passionate about social change and decolonization and has worked in educational, psychosocial, and agricultural contexts. She holds a B.A. in English literature from Western University and has also trained in performance creation at Concordia University.

PLAY DESCRIPTION:

A family drama that examines the needs of an intergenerational intercultural immigrant family, the effects of disability on a family dynamic, and the childhood loss of innocence. It is also about the unlived lives adults carry, the need for belonging, and how a family responds to circumstances beyond their control. It is told in a Trinidadian dialect in the style of Canadian “kitchen-sink realism.”

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ELLA WILLIAMS (she/her) | MELT

Ella Williams (she/her)

Email: ellacaitlinwilliams@gmail.com

Artistic Pillars:

• Playwriting

• Dramaturgy

• Collective Creation

• The Six Viewpoints

BIO:

Ella grew up in central Vermont. After studying playwriting at The Theatre School at DePaul University in Chicago, she earned her Bachelor of Fine Arts in Theatre from Concordia University in Montreal. Ella is interested in applying feminist methodology in the performance creation process and likes to consider herself an emerging theatre artist. She is particularly excited about new play development, non-linear strategies in dramaturgy, Authentic Movement, and sound design.

PLAY DESCRIPTION:

The story of the seven people whose lives are changed when the ghost of an anarchist granite surfacer crawls out of a washing machine and begins to cause trouble in the town he worked and died in. The story of the love that invoked this ghost and the small doomsday cult the ghost will eventually help dismantle. Melt is an inquiry into what love means under capitalism.

“Like, for forty years almost all of the granite workers died extremely young because they were exposed to so much dust that it literally killed them. And the granite shed bosses refused to do anything even though the unions were organizing and organizing and everyone knew exactly why all these people were dying!”

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KAY KOMIZARA (she/her) | AFTER THE ORGY

Kay Komizara (she/her)

Email: kay.sophia.komizara@gmail.com

Artistic Pillars:

• Anarchist

• Cybernetic

• Dionesian

“I’m sure you’ve been honest, too. You ever heard the expression “glass walls make for poor neighbors?” Maybe, some things aren’t meant to be transparent.”

BIO:

Kay Komizara is a Tio’Tia:Ke(Montreal) based, self-taught theatre creator, improviser, writer, and director who has been producing shows since 2013. She draws inspiration from unconventional mediums and her anarchist politics to create effective stories that inspire others to create their own. In 2019 Kay was diagnosed with stage four cancer, and through chemotherapy she first conceptualized what would become After the Orgy: A Hyperreal Tragedy, her most ambitious work to date. You can see her directing talents in Death of a Starman at this year’s Montreal Fringe festival.

Play description:

To capture the essence of cancer and hyperreality, After the Orgy is itself a copy of a copy. Remixing characters from played-to-death tragedies like Antigone and Othello in a neo-mythic sci-fi future. The story takes place when the world’s first trillionaire and their company, InterNXT, plan to end reality by launching a new version of the internet that can manipulate all connected systems and data. To commemorate this event, they host an end-of-reality party. However, plans go awry as the party turns into an end-of-the-world orgy and the detective hired to track down threats is seduced by a terrorist.

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Headshots by Emelia Hellman.

This program is facilitated by YCU Dramaturg, Leila Ghaemi.

Leila Ghaemi (she/elle) is a first generation Iranian-Canadian theatre maker. She recently returned to her hometown of Montreal, Quebec after a decade of working for various theater companies in the United States, including American Conservatory Theater, New Repertory Theatre, and Boston Playwright’s Theatre. Leila received her BFA in Theatre Arts and MFA in Theatre Education & Direction from Boston University’s School of Theatre. She currently serves as co-artistic director of Persephone Productions and teaches theatre at The Study School. Leila’s specialties include theatre education, direction, and new play development. She is thrilled to be joining the PWM team and continue using her various platforms to advocate for intersectionality and empowerment in the arts.

ThE YOUNG CREATORS UNIT is financially supported by

April 17, 2023July 27, 2023

The first Cross Cultural Adaptation Lab

Playwrights’ Workshop Montréal is excited to announce a new program for practicing playwrights led by PWM dramaturg Aki Matsushita: the Cross Cultural Adaptation Lab.

Aki is a biracial, Japanese-Canadian (nisei, second generation) dramaturg and arts educator.

Find out more about Aki here.

The intention of this lab is to form a working group of four playwrights residing in Montreal, to create cross-cultural adaptations of published plays (from the public domain) into their own specific cultural context* in English. Exploring different approaches to adapting cross-culturally, the writers will develop their plays through a combination of group discussions, in which work and feedback are shared, as well as one-on-one dramaturgy, and exploratory workshops as the work evolves over an extended period.

*For example, your cultural context may refer to ethnicity, ability, gender but is not limited to these examples.

We are seeking play into play adaptation proposals from playwrights with projects that are in the germination stage.

Selected participants are supported with an honorarium of $1200.

This lab is created with the support of Centaur Theatre.

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.

If you have any questions about the Cross Cultural Adaptation Lab, please contact Aki Matsushita at aki@playwrights.ca.

If you have any questions regarding accessibility, or require assistance with the form, please contact Heather accessibility@playwrights.ca.

Please note that applications for the first Cross-Cultural Adaptation Lab are now closed. More information on the first cohort will be shared soon.

How to Apply

Fill out this Google Form by May 15, 2023. Your application will require the following information:

Your name, pronouns and contact information
A description of your interest in the Lab (PDF, video or audio, maximum length 1000 words);
A description of your proposed cross-cultural play adaptation (PDF, video or audio, maximum 1000 words/2-minute video or audio) with
A CV (2 pages maximum) and a bio (500 words maximum);
A copy of the text you are adapting from
(The source material may include published plays from anywhere in the world that exist in English or French translation and that are in the public domain).
A copy of your most recent play that has been workshopped, presented or published.

Group sessions will take place on Wednesdays from 5pm-8pm every 6 weeks for up to 2 years, starting July 12th, 2023. The lab will meet in PWM’s studio at 7250 Rue Clark in Montreal. To learn about what it’s like navigating our space, click here.

Please only apply to the Lab if you can commit to the schedule. All applicants will receive a response by June 12th, 2023.

Click here to preview the application form as a PDF.

Apply Here

Selection Criteria

An internal committee will be reading the applications and selecting the participants for the Lab. There are many factors that go into the selection process in addition to the proposal such as group dynamics and the range of experience within the group.