Sebastian Quint (he/him)

Courriel : sebastianquint88@gmail.com

Artistic Pillars:
• Intersectionality
• Discovery & Acknowledgement of our Roots
• Blasting the wall of Eurocentrism with Unity and Authenticity

“It’s ColOmbia, not ColUmbia”

bio:

Born in Medellín, Colombia, and now based in Tiohtià:ke (Montreal), Sebastian Quint is a dynamic emerging artist working across theatre, film, and writing. A graduate of the Dawson Theatre program, his practice is dedicated to using performance as a mechanism for cultural dialogue, social commentary, and celebration. Sebastian’s work actively seeks to uplift and reflect the narratives of the Queer and Latinx communities, offering both visibility and nuanced representation. His talent has led him to tour with Geordie Theatre and engage in significant activist documentary theatre projects. A champion for systemic change, Sebastian is the founder and current chair of ACTRA Montreal’s first-ever Latinx Subcommittee, advocating for greater visibility and equitable representation for Latinx performers. He maintains a versatile career committed to storytelling that heals, challenges, and celebrates.

Photo credit: Jeremy Cabrera

play description:

What are you willing to let go of when your worst enemy is yourself? In rural Medellín, Colombia, Enzo has to answer that himself when his sister and him find a handsome star fallen from the sky who has no idea why he even fell. On top of this, a myth of the land has awakened with a vengeful thirst to hunt them. What more could a gay guy ask for, right? Right?!

Alyssa Angelucci-Wall (she/her)

Courriel : alyssa.aw@hotmail.com

Artistic Pillars:
• Embrace the supernatural.
• Comedy is a love letter to Tragedy.
• Dreamers live forever.

“We should’ve gotten the fucking active listeners.”

bio:

Alyssa Angelucci-Wall is a half-Haitian, Montreal-born artist and a graduate of Concordia University with a BFA in Theatre Performance. She is passionate about storytelling’s power to challenge and inspire, creating work that aims to be bold, inclusive, and culturally engaged, while also delighting in the funky, weird, and fun. Alongside experience on both established and original productions, she has contributed to the development of new plays through staged and private readings with several Montreal companies and training institutions. Committed to accessible and thought-provoking narratives, Alyssa seeks to amplify diverse voices and explore complex themes, fostering meaningful connections through writing, collaboration, and the creation of socially resonant work.

Photo credit: Andrew Miller

play description:

A disastrous opening night derails beyond repair. The remaining cast regroup in the green room to make sense of that which resists explanation. Cannibalism (allegedly), industry standards (eroded), archaic rituals (alive and, well), minds fr(acture)d. The pursuit of greatness can take on quite the troubling aftertaste.

Ian McCormack (they/them)

Courriel : ianmccormacktheatre@gmail.com

Artistic Pillars:
• Hyperfixation
• Hospitality
• Nonsense

“Think about the things people down South will say about us. They all think we are a bunch of hicks livin’ in shacks made out of plywood and two-by-fours. But we’re more than that.”

BIO:

Ian McCormack is an award-winning neurodivergent and queer playwright, dramaturg, producer, and puppeteer who splits their time between North Bay, Northern Ontario and Montréal, Quebec. With a focus on politics and social change, Ian’s theatre practice combines absurdity with reality, to create new works of theatre that transcend bodies and abilities. Ian is the Artistic Producer of Dense & Stage Theatre Collective in Montréal. Ian has also cultivated a transdisciplinary practice, working with a variety of companies, including Teesri Duniya Theatre (Montréal, QC), Theatre By The Bay (Barrie, ON), The Tamarack Festival (Timmins, ON) and the Bread & Puppet Theatre (Vermont).

Photo credit: Jack Murray Morgan

PLAY DESCRIPTION:

Set on the ice of Lake Nipissing, “Auger” is a surrealist, queer play exploring the intergenerational effects of small-town insularity and prejudice in the North. Told through a chorus of neighbours, this Northern Ontario story showcases a town’s resistance to change. What starts as an ordinary day ice fishing transforms into something entirely unexpected when our characters encounter a faceless “presence” lurking beneath their feet.

Hanesa Banks (she/her)

Courriel : hanesa.banks@gmail.com

Artistic Pillars:
• A high context denouement
• Memory; what rightfully haunts us
• Where we are expecting an answer from the plot, a moment of reconnection

“…and when I close my eyes at night…it’s not dark. It’s just my eyelids. Bright, bright red. When I close my eyes at night, all I see is red.”

BIO:

Hanesa Banks is a writer living in Tiohtià:ke (Montréal). She holds a BA in English Literature and Creative Writing from Concordia University. Hanesa has been a performing spoken word artist since 2016. Her most notable shows include an International Women’s Day show for Sofar Sounds (2018), and a United Way Gala (2018). In April of this year she completed a Horror Writer’s Residency at the Banff Centre for the Arts. Her speculative horror stories explore a future-now in which people experience oppression as old patterns of colonization, white supremacy, and dominance digitize or become more layered while re-enforced by technology.

Photo credit: Hanesa Banks

PLAY DESCRIPTION:

A satellite sun has been installed over the western hemisphere to eliminate the night, resulting in a fourteen-day work week. Under its constant fluorescent buzz, Raya is unable to sleep. When her insomnia interferes with her work as a plastic recollection agent at the Quickie Waffles’ call center, she decides to visit her cousin in Malaysia for a much needed break. There, in the satellite-shadow that has cast southeast asia into an eternal dark, Raya’s self-discovery ache is swatted away by a local woman who asks instead: what vigilance might be keeping her awake?