Auteur : Playwrights' Workshop Montréal

Photo Credit: Brooklyn Melnyk

“Before my journey with PWM, I was primarily an actor who had just started writing my own plays. I liked the work I created, but I lacked the confidence to dive deeper into the work. My ideas would never grow past the bullet point phase, and I would always end up feeling stuck. Then, I joined the Young Creator’s Unit in 2023, where my mentor Leila Ghaemi helped me break out of my writing chains. She was exactly the kind of mentor I needed: someone who uplifted me while also shining light on aspects of my work that needed tending to. Because of her guidance and resources, I was able to write, produce and stage a first draft version of my play, my sister’s dead haha. I’ve had the confidence to continue working on this piece, and have since participated in PWM and Centaur Theatre’s Queer Reading Series. I’ve also received my very first CCA grant for my sister’s dead haha, which I can use to fund further dramaturgical support and pitch my play to theatres across Canada. All of these opportunities have fostered great connections within the theatre industry, which have brought me more writing and acting work. I would not be the writer I am today without PWM’s support, and I can guarantee that the Canadian theatre industry would not be the same without it.”

“New to Montreal and wanting to connect with the theatre scene, I went to a Young Creators Unit showcase one night. I was blown away by the work I saw. I knew I wanted to be part of it, but I was scared. I had never written a full-length play. I didn’t think my voice or what I had to say mattered. I didn’t have a process and thought being a playwright meant everything had to pour out perfectly and mind-blowingly.

Joining PWM’s Young Creators Unit changed everything. I learned that process is the whole point, and that writing can be messy, curious, and full of discovery. PWM taught me to lean into who I am, trust my instincts, and embrace my zany imagination. The mentorship and dramaturgical support helped me figure out not just what stories I want to tell, but how I want to tell them. As a neurodiverse artist, I finally felt seen and supported. No one tried to fit me into a box.

A real turning point was confidence, finally believing that I could do this…yes, I could write a play! This led to my first play being produced. Along the way, YCU also taught me how to write grants, advocate for my vision, and build community.

Today, I am writing my second play, developing my first into a TV series, and have returned to PWM as a writing coach. PWM changed the way I see myself as an artist and that has changed my life.”

“In short I would not be where I am without PWM. I was a different person the first time I walked through the offices of PWM – I was green and nervous and needed guidance. I knew I had something that I wanted to write but had no way to do it until I joined the YCU and wrote Crybaby, my first play. It was a personal play which wouldn’t have been brought to life without the tenderness and encouragement I received from Jesse Stong. Writing that show meant I could apply to the National Theatre School’s playwriting program which introduced me to the world of Canadian Theatre. There, I met my mentor Mel Hague who I now work with at Factory Theatre as the Associate Artistic Director. The path between here and there is very clear to me and would not have happened without PWM. Over my time spent at PWM, I’ve seen two examples of outstanding artistic leadership. Sarah Elkashef and Emma Tibaldo are brilliant artistic leaders, both of whom I’ve had the chance to work with personally and are some of the country’s most intelligent and interesting dramaturges. Under their leadership I have seen PWM grow as an organization, while always remaining the place where playwrights in this country want to make work.”

“Before PWM, I was an older student at Concordia University studying theatre, with no experience with theatre, but a lot of experience already as a dance artist. I had a vision and idea of what I wanted to do, but no clue how to get there. PWM has been integral in helping me get to where I am now. 

Right away, PWM was so welcoming to me thanks to Emma Tibaldo, and I was able to use their space for my initial curiosities and explorations in weaving together my dance and theatre practice, aiming to develop my own approach to Hip Hop theatre. I was then part of the YCU program to help me develop my play. For the first time, I got to work with a director and some amazing actors, and we did a live reading in front of an audience! It really helped me see the potential, gave me confidence to keep going, made it feel real, and this experience gave me more support material that I believe helped it advance to its next steps. I have also received dramaturgical support to continue writing, but the most amazing thing was most recently becoming their Amplifier artist with La Serre. I’m finally on track to finish a solid first draft. Being part of the program has also given me invaluable resources for developing my own Hip Hop theatre method. 

With a planned presentation in 2027 at LaChapelle for my play, I would feel way more anxious and in chaos if I didn’t have these resources and support. I feel cradled and nurtured, allowing me to do my best work possible, and am super excited to see the work on stage!”

“PWM completely transformed my sense of self-worth as an artist. I remember attending my first Young Playwrights Unit drop-in night in 2017, wanting so desperately to be a writer but not knowing where to begin. At the time, the program was run by Jesse Stong. He would make us write the first thing that came into our heads, as fast as possible, in response to timed prompts. (“Two minutes left! One minute! Thirty seconds! Keep going!”) I will never forget the feeling of flying his exercises gave me, or the wonder and surprise when my hand began to write something that I had no idea was in my head. Jesse’s mentorship, and the opportunity to share my work as part of the Centaur’s Queer Reading Series, gave me my wings as a writer — and not just because the solo show I wrote in the unit was about flamingos.

Eight years later, I’ve toured that show to four different theatres, with more (hopefully) to come. I’ve become a teacher of playwriting and a dramaturg in my own right, facilitating Tarragon Theatre’s Local Young Playwrights Unit in Toronto. I’ve received my first commissions as a playwright, and seen my first play that I did not self-produce — a horror-comedy called White Taffeta Silk — brought to life by Talk is Free Theatre. Last February, PWM gave me the chance to return to their space, for a week of explorations centred around fairytales. When I pitched the project to PWM, it was only a concept, plus a moodboard. It’s not every day that an organization trusts your first spark of an idea, and gives you the resources to fan the flame. I am forever grateful to this incredible artist- and human-centred organization, and the stellar people who keep its mission alive.”

“Before PWM, I was a theatre-loving teenager who was insecure about my ability to write creatively, and unsure of my place in the professional theatre world. I hadn’t even been able to write a single play to completion yet. Joining the Young Creator’s Unit (2017-18) and receiving dramaturgy and a welcoming place to explore my craft was just the thing I needed to truly start seeing myself as a playwright. Dramaturgy and support from PWM allowed me to complete my first play, Exits, which then went on to receive further development at the very first Queer Reading Series at Centaur Theatre 2019, and then a full production at the 2019 Fringe festival. Hearing audiences react positively and emotionally to my work lit a fire in me that hasn’t yet gone out, and with PWM’s continued support I was able focus that excitement back into improving my writing even further. These experiences are what gave me the confidence to begin writing my second play, Corps, and later, to apply to PWM’s Dramaturgical Collaborations, this time as an adult. PWM is where I had my first professional partnership with a dramaturg, and my first workshop of a play with professional actors and a director—all supported and organized by PWM. It’s where I found my voice as a writer, where I learned to take feedback and make major changes to my work through multiple drafts instead of just picking at line-edits, and where I first began to feel like I was part of the Montreal Theatre community instead of just looking in shyly from the sidelines.

Today, I am in my second year as a playwriting student at the National Theatre School of Canada, and I can say confidently that writing for theatre is what I want to do with my life. Without Playwrights Workshop, I am quite sure that I would never have made it here.”

“Before PWM, I was stalled in my writing practice. I had been part of another playwrights’ program that was cut short by the onset of the pandemic, and any creative momentum it had instilled in me had fizzled out as the world shut down. Several artists I admired had participated in the YCU and I was pleased to find the application so accessible—the focus was on my ideas and commitment rather than production history or industry references. My acceptance into the 2021-2022 cohort (facilitated by Jesse Stong) changed the trajectory of my practice: I was challenged to consider my work from new angles, received mentorship from professional artists, gained a network of supportive peers, and
was afforded a rich introduction to the Montreal English theatre scene.
The turning point in my experience with PWM was being selected for the 2023 Queer Reading Series. The process of staging a reading was completely unfamiliar to me but Jesse and PWM guided me through every step, including connecting me to my amazing dramaturg, Warona Setshwaelo, and supporting my successful first application to the Canada Council for the Arts. Hearing my work read aloud at Centaur Theatre and witnessing audience reactions was a magical moment that I will remember forever. It also led to interest from other theatres that contributed to my confidence as an artist.
PWM was the springboard to earning my MFA in Scriptwriting and Story Design, where my thesis script was awarded by the university. I also now work in development at a local theatre, and credit PWM for easing me into the intimidating world of artists’ grants. As I begin the next revision on my play, I’m deeply grateful for the solid foundation PWM provided for my creative career.”

“Before my relationship with Playwrights’ Workshop Montreal (PWM) began I was self-producing my theatre work and financially supporting myself and my art through jobs in the non-profit sector and service industry. I decided I wanted to pursue playwriting professionally as my main artistic practice and as a first step joined the 2018-19 Young Creators Unit (YCU). At YCU I was offered consistent dramaturgical support, access to a community of writers and given actionable advice about submitting to festivals, grants, and theatre training programs. With the support of my YCU mentor Jesse Stong I successfully applied to the playwriting program at the National Theatre School of Canada (NTS). Throughout my training at NTS I maintained a relationship with PWM, and had the wonderful opportunity to have my play “Scorpio Moon” featured in the 2022 Queer Reading Series (QRS). This opportunity was a pivotal moment in my journey to becoming a professional theatre artist. The QRS allowed me to strengthen my script through a workshop process, and exposed my work to a wide audience who would not have otherwise been familiar with me as an artist. As a result of this development support the play went on to be given a professional production by Imago Theatre in spring of 2025. PWM continued to champion my play by supporting the premiere process with multiple script development workshops leading up to the production, as well as financial support for my dramaturge and mentor, playwright Erin Shields. The support and resources “Scorpio Moon” received from PWM directly contributed to the success of the play – the script was nominated for “Outstanding New Text” at the 2025 Montreal English Theatre Awards. This trajectory illustrates how foundational Playwright Workshop Montreal’s Young Creators Unit and Queer Reading Series has been to my transition from independent theatre artist to professional working playwright. I’m thrilled to say I have now reached a stage in my career where I’m supported by PWM as a professional artist. In 2024 I participated in the Gros Morne Playwrights’ Residency, as well as receiving development support for my new play through a PWM dramaturgical collaboration.”