Rédiger une solide demande de subvention avec Jesse Stong

A banner with a center graphic in the shape of a circle: A headshot photo of the facilitator, Jesse Stong. The graphic is surrounded by dark violet horizontal lines and other circular shapes on top of a lilac background. On the right, it reads: Exploring Practice.
Application Deadline: Sunday, November 24TH, 2024 AT 11:59PM EST.

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

This online 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 compelling writing samples. By the end of this Exploring Practice, 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. This workshop is infused with motivational insights, aimed to empower participants to not only write, but enjoy writing grant applications! Each participant will get one-on-one time with the facilitator for individualized support.

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

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


SCHEDULE

Monday, January 13: 1 to 4PM

Tuesday, January 14: NO SESSION

Wednesday, January 15: 1 to 4PM

Thursday, January 16: 1 to 4PM*

Friday, January 17: 1 to 4PM*

LOCATION

Remote (Zoom)

*Please note that January 16 and January 17 are reserved for individual meetings, therefore participants will not be required to attend the full hours listed above.

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. 


HOW TO APPLY:

If you are interested in applying, please fill out this Google Form by 11:59 PM EST on Sunday, November 24th, 2024.

Questions about this workshop can be sent to leila@playwrights.ca with the subject line: Exploring Practice with Jesse Stong.

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

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

PWM welcomes all applications. 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.


ABOUT THE WORKSHOP FACILITATOR:

A headshot of the facilitator, Jesse Stong.

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 Watchmojo.com, commissaire associé pour le sommet sur les personnes handicapées du Centre national des arts et maître cérémonie des prix du Montreal English Theatre.

Headshot photo credit: Emelia Hellman


LEARN MORE ABOUT EXPLORING PRACTICE WORKSHOPS


PRESENTED IN COLLABORATION WITH

THIS WORKSHOP IS FINANCIALLY SUPPORTED BY

Introduction to Theatre Translation with Leanna Brodie

Extended DEADLINE: Sunday, September 29, 2024, 11:59 PM EST.

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

This introductory workshop for playwrights and theatre artists aims to offer participants ways to approach theatre translation, an enriching craft where the questions you ask are just as important as the answers you come to. In this workshop, participants will explore the practice of translation including thinking through questions such as: Why this play? How best to serve the original? Where to start? What are the challenges, and where to look for opportunities for development and production?

Please note that the workshop will run primarily in English, with interpretation between English and French as needed. Applicants curious about translating languages other than English or French are encouraged to apply: many of the same  principles and skills will be transferable.

Participants may come with a play translation in mind or else be matched up with a play for the purposes of this workshop. A minimum of two weeks before the workshop begins, participants need to share their intended text with the facilitator, or request that a text be assigned. Additional brief translations may also be assigned as in-class exercises. 


SCHEDULE

Monday, November 4: 12 – 3PM

Tuesday, November 5: 12 – 3PM

Wednesday, November 6: 12 – 3PM

Thursday, November 7: 10AM – 12PM

Friday, November 8: 12 – 4PM

LOCATION

PWM Studio: 7250 Rue Clark #103, Montreal, Quebec, H2R2Y3

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


Participants are expected to be available for the duration of the scheduled sessions.

HOW TO APPLY:

If you are interested in applying, please fill out this Google Form by 11:59 PM EST on Friday, September 27, 2024.

Questions about this workshop can be sent to PWM’s Artistic Producer, Leila Ghaemi, at leila@playwrights.ca with the subject line: Exploring Practice with Leanna Brodie.


PWM welcomes all applications. 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.


ABOUT THE WORKSHOP FACILITATOR:

Leanna Brodie is a leading translator of contemporary Québécois and Franco-Canadian playwrights whose award-winning translations have been published and produced across North America. Recent premieres have included David Paquet’s Wildfire (Factory Theatre, Toronto: 2022 Dora Mavor Moore Award for Best New Play); Anaïs Pellin’s Clementine (Kleine Compagnie/Carousel Theatre/PHT, Vancouver); Fanny Britt’s Benevolence (Ruby Slippers Theatre/Pacific Theatre, Vancouver); and Rébecca Déraspe’s I Am William (Stratford Festival, Théâtre le Clou). This season sees the premieres of Sébastien Harrisson’s From Alaska (Belfry Theatre, Victoria) and Catherine Léger’s Home Deliveries (Ruby Slippers Theatre/Jericho Arts Centre, Vancouver). Brodie is also an award-winning librettist, performer, and playwright: Salesman in China, co-written with Jovanni Sy, just premiered to great acclaim at the Stratford Festival. Brodie recently served as Assistant Professor (Playwriting) at UBC’s School of Creative Writing; and is currently Artist-in-Residence at Concordia University. www.leannabrodie.com


LEARN MORE ABOUT EXPLORING PRACTICE WORKSHOPS


THIS WORKSHOP IS FINANCIALLY SUPPORTED BY

Announcing the 2024 Gros Morne Residency Playwrights | Dévoilement des Participant.e.s de la Résidence de Gros-Morne 2024

A photo of Gros Morne national park - a dock with water surrounding it and mountains further off. The sky is grey. The words 2024 Gros Morne Residency Playwrights written in white in the forefront.

Playwrights’ Workshop Montréal (PWM) and le Centre des auteurs dramatiques (CEAD), in partnership with Artistic Fraud of Newfoundland, Creative Gros Morne, the Bonne Bay Aquarium & Research Station, and with the vital support of the Fondation Cole, are pleased to announce the seven playwrights participating in the 2024 Résidence d’écriture théâtrale de Gros Morne

The Gros Morne Playwrights’ Residency is a dual-lingual residency that welcomes playwrights from across the country to share space and conversation in the unparalleled landscape of Gros Morne National Park, Newfoundland and Labrador. The program offers dramaturgy in French and English. 

From September 26 to October 7, 2024, Pascal Brullemans, Veronica Dymond, Mélanie Léger, Gislina Patterson, Adjani Poirier, Jovanni Sy, and Érika Tremblay-Roy will be staying at the Bonne Bay Aquarium & Research Station in Norris Point. The residents will have the opportunity to explore their plays during unstructured writing time, one-on-one dramaturgical conversations, and group discussions.

Look out for future social media posts about the artists and the residency!

Playwrights’ Workshop Montréal (PWM) et le Centre des auteurs dramatiques (CEAD), en partenariat avec Artistic Fraud of Newfoundland, Creative Gros Morne, le Bonne Bay Aquarium & Research Station, et avec le soutien vital de la Fondation Cole, ont le plaisir d’annoncer les sept auteurs et autrices dramatiques qui participeront à la Résidence canadienne d’auteurs et d’autrices dramatique de Gros Morne 2024.

La résidence d’écriture théâtrale de Gros-Morne est une résidence bilingue qui accueille des dramaturges de tout le pays pour partager un espace et la conversation dans le paysage sans pareil du parc national du Gros Morne, à Terre-Neuve-et-Labrador. Le programme propose de l’accompagnement dramaturgique en français et en anglais.

Du 26 septembre au 7 octobre 2024, Pascal Brullemans, Veronica Dymond, Mélanie Léger, Gislina Patterson, Adjani Poirier, Jovanni Sy, and Érika Tremblay-Roy séjourneront au Bonne Bay Aquarium & Research Station à Norris Point. Les résidents auront l’occasion d’explorer leurs pièces pendant des périodes d’écriture non structurées, des conversations dramaturgiques individuelles et des discussions de groupe.

Ne manquez pas les prochains messages sur les médias sociaux concernant les artistes et la résidence!

Meet the Playwrights | Rencontrez les auteurs

PASCAL BRULLEMANS (QUÉBEC)

Pascal Brullemans débute son parcours en 1994, avec Les derniers jours du Gouverneur, mis en scène par Wajdi Mouawad. Suivra une collaboration avec le metteur en scène Eric Jean, dont sont issus les pièces Camélias et Hippocampe. L’auteur fait ensuite une incursion dans l’univers jeune public avec notamment Isberg, puis Vipérine et Moi et l’autre. Puis, Brullemans collabore avec la metteure en scène Nini Bélanger pour créer Endormie(s) et Beauté, chaleur et mort. En 2016, il remporte le prix Michel-Tremblay pour la pièce Ce que nous avons fait. Ces dernières années, l’auteur a poursuit plusieurs projets dont les pièces Petite Sorcière et Ceux qui n’existent pas.

Photo credit: ​​Valérie Remise

PLAY IN DEVELOPMENT: Guide de survie

Guide de survie raconte l’histoire d’une femme qui apprend qu’elle est atteinte d’un cancer incurable et qui choisira de se départir de tous ses biens, pour terminer ses jours dans une maison de soins palliatifs… où elle ne mourra pas. Guérissant de façon inattendue, celle-ci devra surmonter l’échec de sa mort, avant de retourner affronter les vivants.


VERONICA DYMOND (NEWFOUNDLAND and labrador)

Veronica ‘Vero’ Dymond is a writer based in St. John’s, NL. She has worked in film, television, theatre, stand-up, animation, comics, and music and is featured on the Just for Laughs Originals album “Infinity Plus Pizza.” Her short films and sketches have played in festivals like the Nickel Independent Film Festival, the St. John’s Shorts Festival, Toronto Sketch Fest, NL Sketch Fest, and the Halifax Animation Festival. Her work blends queer themes with classic styles, bringing new perspectives to traditional media.

Photo credit:  Veronica Dymond

PLAY IN DEVELOPMENT: I Kill Myself: A Live Comedy Show

A priest, a writer, a juggler, a comedian, a tomboy, a construction worker, a documentarian, an addict, a land acknowledgment, a singer, a voice, an amorphous blob of misery and shame, and a tea drinker walk into a play. They are the same person. That person is me.

 “I Kill Myself: A Live Comedy Show” is a comedian’s attempt to rediscover joy after trauma. Told through stand-up, sketch, and circus, the show tackles identity, faith, what it means to be “funny.” Also, there’s knife juggling.


MÉLANIE LÉGER (NEW BRUNSWICK)

De Shédiac au Nouveau-Brunswick, Mélanie Léger (elle) écrit pour le théâtre, la télévision et le cinéma, en plus de travailler comme recherchiste, réalisatrice et comédienne. Elle a écrit une douzaine de pièces de théâtre portée à la scène. À l’hiver 2024, la pièce Becca (une coproduction du Théâtre Populaire d’Acadie et de Theatre New Brunswick) était en tournée un peu partout au Nouveau-Brunswick. En même temps, la pièce pour ados Tsunami (une production du théâtre l’Escaouette) était présenté en reprise au Québec et à Ottawa.

Photo credit: Emmanuel Albert

PLAY IN DEVELOPMENT: P’tite affiche de tête de mort au bord de la route (titre de travail)

« J’ai longtemps pensé qu’il serait simple et facile de bannir les pesticides à usage esthétique. Le monde serait sauvé. En tout cas, il serait un peu moins empoisonné. Mais – et j’ai honte – je n’ai jamais vraiment agi avant que le problème se retrouve, comme qui dirait, dans ma cour. »  La pièce entame un chantier de création autour de ma/notre relation aux pesticides au Nouveau-Brunswick. Dans ce premier chapitre, je souhaite explorer les mœurs entourant les pesticides à usage esthétique.


GISLINA PATTERSON (manitoba)

Gislina Patterson is a playwright, performer, director, and dramaturg. His play i am your spaniel, or, A Midsummer Night’s Dream by William Shakespeare by Gislina Patterson has been presented by SummerWorks, Buddies in Bad Times, and the London Ontario Media Arts Association. They dramaturged and directed Dasha Plett’s award winning play 805-4821 which toured to SummerWorks, OFFTA, PushOFF, Théâtre Catapulte, and Buddies in Bad Times. They co-directed the premiere of “Rencor Vivo” by The Mariachi Ghost with Jorge Requena Ramos at the Prismatic Festival, and were the 2019 recipient of the Reg Skene Award for Emerging Artists.

Photo credit: Dasha Plett

PLAY IN DEVELOPMENT: Eat Me

“Those who speak of revolution without speaking of everyday life talk with a corpse in their mouths.”
– Raoul Vaneigem

Eat Me is an erotic lesbian melodrama about student loans, dentistry, and cannibalism. Helga, a burned out recent art school grad meets Camille, a wealthy butch dentist 35 years her senior during her first check up in 5 years. After a chance run in at Helga’s gallery job the women find themselves drawn to each other. When Helga, desperate to pay down her debt, moves into Camille’s waterfront condo, their relationship spirals into toxic, bloody, and ultimately fatal codependency. Eat Me as a play about real estate, the fundamental imbalance in the safety and stability of those who own property vs those who rent, and the ways that this imbalance can make love impossible.


ADJANI POIRIER (QUÉBEC)

Adjani Poirier is a theatre artist who currently lives and writes in their hometown of Tiohtiá:ke/Montreal. 

She is interested in creating work that explores the beauty and the ugly of the human experience, is drawn to stories that reveal the complexity of navigating a world where systemic inequalities oppress, yet love and connection still seep through the cracks, strong and fierce, giving us life. Their writing uses magical realism to explore ideas of home, queer desire and how the subconscious influences our relationships to each other and our physical surroundings. 

Adjani is an Associate Artist at Imago Theatre and a graduate of the National Theatre School of Canada where she studied playwriting.

Photo credit: Alex Tran

PLAY IN DEVELOPMENT: One Spectacular Moment

Montreal, present day. Africville, 1967. A rift in time, an undoing of space, a shift in reality, the two worlds merge.  

Historical fiction meets magical realism in a play that explores the connections between the historic Black community of Africville, urban renewal, the civil rights movement, the current housing crisis in Canadian cities and QTBIPOC activist movements. One Spectacular Moment is a celebration of those who resist in the face of systemic discrimination and the complexity that goes into this kind of activism: the determination, the exhaustion, the bravery, the necessity, the grief, and the hope.


JOVANNI SY (QUÉBEC)

Jovanni Sy is a Montreal-based playwright, director, and performer. He is the former artistic director of Gateway Theatre (Richmond) and Cahoots Theatre (Toronto). Since 1992, Jovanni’s artistic mission has been to create bridges across cultures with a particular interest in reimagining Western classics through an Asian Canadian lens. His plays include Salesman in China (co-written with Leanna Brodie), A Taste of Empire, The Five Vengeances, Nine Dragons (Jessie Richardson Award), The Tao of the World (PGC Comedy Award), and Kowloon Bay (PGC Drama Award).

Photo credit: Kristine Cofsky

PLAY IN DEVELOPMENT: Fan Tan Alley

Fan Tan Alley is a fast-paced farce set in a Chinese bunkhouse in Victoria’s famous Fan Tan Alley around 1900. The action takes place in a tiny room with six beds that is time-shared among almost twenty Chinese men. Most of the tenants have loose connections to the seedier aspects of Fan Tan Alley and struggle to find privacy in a place where privacy is impossible. Fan Tan Alley is a Silver Commission project from Vancouver’s Arts Club Theatre.


ÉRIKA TREMBLAY-ROY (QUÉBEC)

Érika Tremblay-Roy est autrice, metteuse en scène et directrice artistique du Petit Théâtre de Sherbrooke. Elle signe des formes interdisciplinaires qui laissent une grande liberté de lecture aux jeunes publics.  Ses œuvres, jamais prescriptives, touchent, questionnent et décoiffent. Parmi ces créations récentes, citons Le Potager, un concert-rock pour tout-petit.e.s,  Le problème avec le rose, où elle aborde avec sensibilité et humour les questions du genre et de la diversité sexuelle et Prince Panthère, un cabaret-onirico philosophique déroutant. Érika est une créatrice qui va là où on ne l’attend pas, les métissages qu’elle réussit à créer entre les langages se renouvelant à travers l’un et l’autre de ses projets.

Photo credit: Annick Sauvé

PLAY IN DEVELOPMENT: Très beau mais très difficile (titre de travail)

Que c’est difficile d’habiter l’échec avec humanité. D’admettre que tout ne se passe pas comme on le voulait. Tout ce qui nous entoure carbure au sentiment de réussite. Il faut être au top en tout. Pourtant, rien ne se passe jamais comme on l’avait imaginé. Comme dans un jeu déroutant où on ne connait ni le but ni ce qu’on gagne, quatre interprètes débordés par la tâche insurmontable qu’on leur confie nous invitent à l’intérieur de familles, toutes sortes de familles, remuant la montagne des petits et grands ratés qu’on doit traverser et qui nous façonnent.


Logo of the Cole Foundation

The 2024-2025 Young Creators Unit

Calling all emerging playwrights and theatre creators, the 2024-2025 Young Creators Unit is now accepting applications!

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

In 2024, we are proudly celebrating the 10th anniversary of the Young Creators Unit!

Applications are now open and due by August 11, 2024, 11:59PM EST. 

Are you a theatre maker under 30, looking to hone your craft in storytelling? Do you have a brilliant idea for a play, but are not sure how to get it on paper? Or maybe you need feedback and guidance to elevate your first draft to the next level?

If any of this sounds like you, then PWM’s Young Creators Unit is the place to develop your work and artistry.

This creative incubator supports emerging artists to find their voice, make connections, and learn new storytelling skills, all while developing the practical skills they need to establish a successful career in the arts. All you need to apply is an idea, a question, theme, or an image you’d like to explore.

From September 2024 -June 2025, participants will receive one-on-one dramaturgical sessions, mentorships with industry professionals, and participate in group writing sessions and workshops. YCU participants are also provided professional development resources and opportunities, such as grant writing support and guidance, access to local theatre performances, and networking opportunities.

If you are interested in learning more about the Young Creators Unit and PWM, or about the YCU 2024-2025 Application Process, please email Leila at leila@playwrights.ca.


YCU is led by PWM’s Artistic Producer & Dramaturg, Leila Ghaemi.

Thrilled to be back leading the YCU for her third year, Leila Ghaemi (she/elle) is a dramaturg, director and teaching artist. Her artistic pillars include responsible MENASA representation, radical theatre empowerment, and new play development. She received her BFA in Theatre Arts and MFA in Theatre Education & Direction from Boston University’s School of Theatre, where she grew her love for and skills in dramaturgical methods. She currently serves as the board president for Persephone Productions Montreal. 

Recent external credits include: Creative Consultant, POTUS (The Segal Centre); Cultural Consultant & Audience Engagement, English (The Segal Centre for the Performing Arts); Senior School Drama Teacher, The Study School; Co-Director, Pool (No Water) (Persephone Productions Montreal); Director, Romeo & Juliet (Classic Repertory Theatre); Director, The Scarlet Letter (Classic Repertory Theatre); Artistic Associate, New Repertory Theatre; Dramaturg & Director, The Tragic Ecstasy of Girlhood (Boston Playwrights’ Theatre); and Script Reader & Conservatory Associate, American Conservatory Theater.


PWM welcomes all applications. 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.

 Click here to preview the application form as a PDF. 


Comment postuler :

If you are interested in applying, please fill out this Google Form by 11:59 PM EST on August 11th, 2024.

Your application will require the following information:

  • A brief bio of yourself, and your experience (if any) as a storyteller/creator.
  • A brief description of the work you would like to develop in the YCU this year, or a list of some ideas.
  • A brief description sharing why you would like to join the Unit, and what you hope to get out of the experience.
  • Any additional writing and/or artistic materials you would like to have considered with your application. This can be a current script excerpt, mood boards, music playlists, past work, etc. This helps us get to know you and what sparks your interest as an artist!

The program will run from September 11th, 2024, to May 31st, 2025. Group sessions will take place biweekly on Wednesdays from 5-8PM in the PWM Creative Studio, located at 7250 Rue Clark, suite #103. 

The number of Cohort members we can accept is limited, and participants are expected to attend the group sessions, one-on-one meetings,  as well as commit to additional self-directed activities. Please only apply to the YCU if you are able to commit to the full schedule. All applicants will be informed of their results by Friday, September 6th, 2024. 

The Selection Process

Due to the high level of interest in the YCU each year, we will be holding interviews with some of the potential candidates  to learn more about their interests and goals, and what they hope to gain from the program. This is also a great opportunity for you to ask us questions! Please note that not all applicants will be contacted for an interview, and that an interview does not indicate whether or not you have been accepted into the program.

Once the application period is closed, all applications will be reviewed and considered. There are many factors that go into the selection process, such as group dynamics and the range of experience within the Cohort. Decisions will not be based on training or competencies; we therefore encourage applications from all backgrounds and experience levels.

If you have any questions, please contact YCU’s Lead Dramaturg, Leila Ghaemi at leila@playwrights.ca


“A singular space for incubation and support, YCU meets young artists where they’re at. During my time I was able to garner so much I wouldn’t be able to achieve alone: an ensemble of motivated peers, unique workshops from interdisciplinary practitioners along with space and time for my piece to grow. Along with the development of my piece, YCU fosters exploration of the playwright’s process, understanding that with each unique story comes unique approaches to the artist and their creation.”

— 2023-2024 YCU Cohort Member


Learn more about the Young Creators Unit.

The 2023-2024 Young Creators Unit Showcase

PWM’S YOUNG CREATORS UNIT IS NOW IN ITS 9TH 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 Cohort is preparing for our annual showcase! This private event will take place at the PWM Studio on Tuesday May 28 and Wednesday May 29 from 7:00-8:30 PM.

Learn more about each cohort member by clicking the “show more” button under their names.

This year’s showcase will be a private event due to limited seating capacity. If you are interested in being added to an attendance wait list, please contact leila@playwrights.ca

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


TUESDAY, MAY 28

SAM LEMIEUX (he/him) | CANMORE, AB

Sam Lemieux (he/him)

Courriel : samlemieux@live.com


Artistic Pillars:
• Family
• Memory
• Generational baggage

bio:

Sam Lemieux is a bilingual actor, writer and creator from small-town Coaticook, QC, and is  currently living in big-city Montreal. Originally from a French speaking, blue-collar background, Sam made the move to Montreal to become an actor and study at Dawson College’s  Professional Theatre Program, which he graduated from in 2021. During his time there, Sam  developed a love for writing which eventually led with his first written work titled Saltzman’s  Antiques; a one-act play about a woman trying to pass off her family owned antique store for  free, which premiered at the Montreal Theatre Fringe Festival in 2022. Since then, Sam has  gone on to write two more projects: A short film titled The Mother Is Dead, Which he also  produced and acted in (Currently in Post-Production); and now Canmore, AB, which he hopes to one day produce as well.

Play description:

Barb suddenly invites her niece along on her romantic getaway with her boyfriend to the Rocky Mountains of Alberta, where she’ll have to make a decision on either reminiscing on her past, or forgetting it entirely. But how do you forget what’s a part of you?

“That river. It followed me. It followed me all the way here.”

HWAAN HAN (she/her) | WILLOW

Hwaan Han (she, her)

Courriel : heyanhan02@gmail.com


Artistic Pillars:
• Deconstruction of binaries
• Breaking the fourth wall
• The five senses; bridging the gap between body and world

bio:

Hwaan Han is a theatre maker based in Montreal. She received her B.A. in English Drama and Theatre from McGill University (2023) and completed Imago theatre’s ARTISTA mentorship program (2022). She is a performer, researcher, and emerging playwright preoccupied with the way we understand and act upon our relationship with Earth, and themes of existence, belonging, and mortality.

play description:

Willow is about the distance humanity has created with Earth. The play is set inside this very gap, a metaphorical space made entirely of concrete, a liminal space between life and death. The title character finds herself trapped there and longs to break free. But does the world still exist beyond those concrete walls?

I am a willow tree in the middle of a desert. No wind blows through my branches. No water seeps into my roots. I reach deeper and deeper. Nothing. Dry, dead sand. So I cry to water my own roots. That’s all there is for me to do. A lonely weeping willow in the desert, who weeps to keep weeping.

ANNA MORREALE (they/them) | DYLAN’S SONG

Anna Morreale (they, them)

Courriel : anna.morreale.work@gmail.com


Artistic Pillars:
• Curiosity
• Patience
• Poetics

bio:

Anna Morreale is a multidisciplinary actor and artist, originally from Hamilton, Ontario. Currently based in Montreal, Anna is inspired by theatre that is surreal, unconventional and collaborative. Their practice reflects this through the employment of movement, performance art and collective creation as focal points in their work. Since graduating from the National Theatre School of Canada in 2021, Anna has been working professionally in the theatre, film and voice acting industries, whilst also developing their practice as a producer and writer of theatre. Anna is the artistic producer for Scaredy Cat Theatre, an emerging company helmed by Chelsea Dab Hilke and Cole Hayley. Outside of performing, Anna enjoys creating with other mediums such as film photography, collaging and poetry. You can also find them in their kitchen kneading bread dough. Have you eaten yet?

play description:

After a big night out, rumoured to be this party-girl’s last hurrah, Dylan prepares to tell you her story. Joined on stage by a chorus known as ‘The Bodies’, Dylan’s memories unravel faster than she can handle, exposing a darker side to her desire.

I was growing spores on my thighs and elbows my hair was falling off my skin was melting away to expose the origin of the poison suffocating them was in fact just me lying dead in a clawfoot bathtub in the middle of an abandoned warehouse rave. 

Long pause 

I want out.

I want out of my body.”

JOSHUA BILBAO (he/him) | GOD HAS ADHD

Joshua Bilbao (he/him)

Courriel : josh.bilbao1996@gmail.com


Artistic Pillars:
• Passion
• Curiosity
• Humility

If someone had told me that my most memorable experience while studying theater in New York City would have been working as an illegal dishwasher, I wouldn’t have believed it. And yet, it was.

BIO:

Joshua Bilbao is a multidisciplinary Mexican/Canadian artist born in Taiwan and raised all throughout North America. Jumping into the world of show business in his early twenties has led him to train under the direction of coaches such as Bernard Hiller, Miriam Silverman, Austin Pendleton and Mary Lou Rosato. Bilbao also completed a 2-year acting program at the Tom Todoroff Conservatory with extensive work on voice, speech, movement & Shakespeare in New York City. In addition to his training, Bilbao has always taken pride in being a creator. He produced and starred in his first theater production ( “Jesus Hopped the ‘A’ Train”) that won “best direction” at the Broadway World awards.  He has also produced, directed, written, and starred in a number of short films and music videos.

One of his most recent projects was producing and acting in the critically acclaimed play called “The Motherf*cker With The Hat”  written by Stephen Adly Guirgis.

PLAY DESCRIPTION:

God has ADHD is a one man show that centers around Jose, a young Mexican actor studying in New York City, who takes up a demanding dishwashing job at a Peruvian restaurant in Jackson Heights to support himself. His story reflects on immigrant experiences and the enduring impact of unexpected friendships forged amid life’s trials.

TIERNAN CORNFORD (she/her) | THE ANDRIELLE SHOW

Tiernan Cornford (she/her)

Courriel : tiernancornford@gmail.com


Artistic Pillars:
• Intersectionality
• Musical storytelling
• Genre & popular culture

A life as simple as bubbles
you quickly learn how to dance
But when I’d finally grown in my scales
I’d feel tension in my hands

BIO:

Realizing her passion at an early age, Tiernan has been intuitively molding as an artist for nearly a decade. Born and based in Tiohtià:ke Montréal, Tiernan has worked and trained as a creator in the city, brought on by companies such as Imago, Repercussion, Black Theatre Workshop and garnering her BFA at Concordia University in 2020. As a playwright, Tiernan been able to work with Concordia, Teesri Duniya and most recently Half Twin Theatre, Cowriting “Hey B*tch, Love You” for the 2023 Montreal Fringe. As an artist, she enjoys theater for its call towards presence and the ephemeral. She believes in connection, communication and heart through interdisciplinary means.

PLAY DESCRIPTION:

Splash into the world of Greatlands Aquarium & Water Park! Meet Andrielle, a beloved mermaid on an adventure of finding home. With newfound friends, Finnley the puffer fish and Kerri the clam, will she find the place where she belongs?

*Access the Shelltacular Package ($61.01) and Swim into the aftershow as Andrielle answers questions from guests. Uncover the magic of Greatlands and sink deeper with Andrielle and Friends, as they unwillingly unravel and address underlying controversies within the park itself. There will be scarves!


WEDNESDAY, MAY 29

GABRIELLE BANVILLE (she/her) | MY SISTER’S DEAD… HAHA

Gabrielle Banville (she/her)

Courriel : gabriellemb28@gmail.com


Artistic Pillars:
• Nonchronological and overlapping storylines
• Memory of music
• Dualities of womanhood

This is one of those moments where I’m glad she’s dead, because I would’ve never let her name my nephew fucking Chad.

BIO:

Gabrielle (she/her) is a bilingual performer and collaborator originally from Ottawa, and currently based in Tiohtià:ke/Montréal. Since graduating in 2020 from Concordia University’s Acting for the Theatre program, she has been actively pursuing her talents in performance, movement-based storytelling and playwriting. She continues to expand her skills, having taken part of ACTRA’s Performance Capture & Voice for Video Games Workshop and Dubbing Workshop. She is the founder of Half Twin Theatre, a company which tells the stories of forgotten people. Through her theatre collective, Gabrielle has collaboratively written and produced two critically acclaimed Montréal Fringe shows: A Paisley Mind in 2022, and Hey B*tch, Love You in 2023. She is excited to bring her newest play to the 2024 edition of the festival. She is thrilled to be collaborating with artists in the community, and hopes to both perform in and produce a professional or independent production within the next year.

PLAY DESCRIPTION:

Briar and May are navigating life right after the loss of their sister, June. After discovering their sister had left a voice note before her death, Briar and May attempt to tackle June’s requests, such as living together in her condo, fostering her diabetic cat Bacon, and putting her ashes in a teapot. This dramedy asks the question few of us want to ponder; what happens when our sibling dies and leaves us too soon?

BANAFSHEH HASSANI (any, all pronouns) | شرقی

Banafsheh Hassani (any/all pronouns)

Courriel : banafsheh.hsn@gmail.com


Artistic Pillars:
• Truth
• The whole truth
• Battling isolation with art –
for, by, and about the isolated

“An arm, waving frantically in the air, in an endless landscape of crying heads and shoulders. The head and shoulder attached to this arm are not visible, but they don’t need to be for Parto to recognize her dad. She hopes she can reach him one last time:

بابایی من رفتم! خدافظ!

BIO:

Banafsheh Hassani بنفشه حسنی (any/all pronouns) is an Iranian, Montreal-based, feminist theatre wrighter and producer. They are graduating from Concordia University with a BFA Specialization in Performance Creation in Spring 2024. She is preoccupied with home, memory, dreams, identity, un/changing and relations (blood and otherwise), and all that would happen if only home was not the mouth of a shark. Banafsheh co-founded The Sky is the Limit Theatre in 2022, where they have produced four new shows since, focusing on collaborative art-making, experimentation, listening, community building and speaking loud to reach for ceilings and skies. Recent credits include: Wine & Halva (Toronto Laboratory Theatre, dir. Art Babayants, 2024), 100% Human Error (The Sky is the Limit Theatre, 2024), if only (Concordia Theatre Department, 2024) and À Confirmer / T.B.C. (The Sky is the Limit Theatre, Montreal Fringe Festival, 2023).

PLAY DESCRIPTION:

An Irani immigrant, insurmountable moving and growing mountains, too many languages, a bright new life ahead. Will a شرقی ever really be free from the weight of being from that side of the world? What if they get really close to the top of that mountain? Could they break free then? Will they want to?

TOBY WALMA (he/him) | COTTAGE TIME

Toby Walma (he/him)

Courriel : toby.walma@gmail.com


Artistic Pillars:
• Humour
• Compassion
• Enthusiasm

BIO:

Toby Walma is studying at Concordia University in the Honours English & Creative Writing program, with a passion for studying early drama from the medieval and Renaissance periods. He writes in a variety of genres and has worked in theatre onstage, backstage, and in the tech booth. He was described by the Canada Council for the Arts as “still in school” and having “not yet demonstrated an outside artistic practice.” In his spare time, he rereads the middle grade fiction he read as a kid to see where it all went wrong.

PLAY DESCRIPTION:

Inspired by As You Like It, Cottage Time follows Orlando and Ross, as they help prepare for the wedding of their respective siblings at a family cottage. During the preparations, Ross struggles balancing wedding planning while concealing his own history at the cottage. What was supposed to be a weekend escape forces Ross and Orlando to confront different versions of their past, both real and imagined, and come to terms with memories that exceed multiple decades (and possibly centuries).

“Mom said maybe I am ophiophobic. It’s hard to spell but it means “scared of snakes”. Mom is making quesadillas with Mrs. K for dinner. We are going to watch Despicable Me later.”

RANA LIU (she/her) | YOU TAUGHT ME LOVE

Rana Liu (she/her)

Courriel : ranaliu0@gmail.com


Artistic Pillars:
• Collaboration
• Honesty
• Safety

Mother: Home is here. You and me. This is home. Home is eating the food you love. Home is reading a great book. Home is eating with loved ones. When you look for it, you’ll find that home is right here (pointing to her heart).

Beat 

Daughter: I miss you.

BIO:

Rana Liu is an Asian Canadian multidisciplinary arts creator, and lover of bagels & dumplings. Her principle goal is to (re)vitalize diversity and cultural understanding through shared perspectives. To not just tell these stories, but to celebrate them. A theatre maker in Montreal, Rana has had the chance to work & perform in New York, Toronto, Chicago, and Shanghai. For the last two years, Rana has been directing A Little Bit Pregnant, recently having its international premiere at the New York City Fringe Festival (April 2024). The show has also been performed in Toronto (Toronto Fringe Festival 2023) and Montreal. In 2021, Rana wrote and directed Generations, which premiered at the Montreal Fringe Festival. She also co-founded the ‘Blowfish Theatre Company’ in 2016, producing Matt & Ben (2016), Paani (2017), A Love Song for Insomniacs(2018) and Generations (2021). Rana earned her BA at McGill University, double majoring in Political Science and English: Drama & Theatre, and completed her MA at Columbia College Chicago in Arts Management. For her 9 to 5, she works at CBC as a communications link between the community and the newsroom, coordinating efforts to engage diverse audiences and amplify their stories. She currently splits her work with the CBC Quebec Communications team and the CBC Podcast team. As a storyteller, her mission is to provide a platform for people to tell their stories. You can find more of her work here: ranaliu.com.

Play description:

How do you thank your immigrant parents for their sacrifices? In You Taught Me Love, this intergenerational piece explores the complex relationship between an immigrant mother and her Canadian daughter. This play intimately portrays the generational and cultural gaps that the ‘unspoken ones’ experience. You Taught Me Love is a thank-you letter to our immigrant mothers. For their love, wisdom and sacrifices.

ANTON MAY (he/him) | A BOY’S Love

Anton May (he/him)

Courriel : anton.may94@hotmail.com


Artistic Pillars:
• The importance of QBIPOC stories and representation
• Tending to my inner child’s dreams and aspirations
• My family; honouring my ancestors

I try. To hide behind the mask that protected me from the vultures of my childhood. That circled above my head waiting for my walls to fall so they could pick away at my imperfections. But my mask is beginning to crack. My walls  are eroding from years of self doubt. The void. I. Try to fill.  Unsuccessful. Remains void.

BIO:

Anton May (he/him) is a British born, now Montreal based Creator/Performer, an honours graduate from Dawson College’s Professional Theatre Program and alumni of Black Theatre Workshop’s Artist Mentorship Program in the acting discipline (2016-17). He has had the privilege to perform across eastern Canada as well as in New York as a singer and actor. In 2018, he was the recipient of the META for Outstanding Emerging Artist (performance). The pandemic allowed him to focus on his writing. Something he’s always been passionate about, but never had the time to pursue. In his writing, he focuses on QPOC (queer people of color) struggles. He tackles these themes through poetry/spoken word. He continues to seek out opportunities to tell stories through the black queer gaze through song, dance, and poetry. His latest digital work An Account Of Many was showcased in BTW’s Belonging Project (2021) alongside many powerful queer black stories. He is also a proud member of the Montreal Kiki Ballroom scene (as Godfather Broadway Mulan) where he frequently competes and emcees for the dwolls at Balls in both Toronto and Montreal. When he’s not acting, he’s voguing or performing in concerts and Cabarets singing or moving audiences with his poetry. He is thrilled to be a part of this year’s cohort. 

PLAY DESCRIPTION:

A play and choreo-poem about the struggles that come with finding love and acceptance as a QBIPOC. Through movement (dance), spoken word (poetry), A Boy’s Love explores the healing process that is necessary when faced with the hardships of love. Phil, Patrick and Gerard are co-collaborators on a dance project. Due to an injury leading up to performance night, Phil has no choice but recast the show with prodigy dancer Jerome. However, this young new energy threatens the dynamic of the group. Is history repeating itself?

CHLOE GIDDINGS (she/her) | SOFT PROJECT

Chloe Giddings (she, her)

Courriel : chloegiddings@gmail.com


Artistic Pillars:
• Accessibility
• Silliness
• Truth

bio:

Chloe is a bilingual theatre creator in Montreal. She began as an actor, most recently appearing in La Campagne, a french translation of Martin Crimp’s The Country, directed by Jérémie Niel at the NAC. In spring, she finished an internship in cultural mediation and theatre education for young audiences with the Petit Théâtre de Sherbrooke. That’s where she was inspired to begin writing for young audiences, which is what has brought her to YCU.

play description:

Lach is a little boy just like all the other little boys in his class, except that he has tentacles. Together with his Mom and his good friend Ema, he finds his way through a world that was not made for him. Will he finally figure out how to ride the school bus?

“Like a cow in an alien’s tractor beam, Lach is pulled towards the bus. With much effort, he manages to shove his tentacles through the door of the bus and up the steps. His tentacles are pressed up against his body in a claustrophobic sensory nightmare. He pushes down the aisle, tentacles spilling into each seat he passes, until he finally finds his friend Ema and sits next to her.”

Headshots by Emelia Hellman.


This program is facilitated by YCU Dramaturg, Leila Ghaemi.

Leila Ghaemi (she/elle) is a dramaturg, director and teaching artist. Her artistic pillars include responsible MENASA representation, radical theatre empowerment, and new play development. She received her BFA in Theatre Arts and MFA in Theatre Education & Direction from Boston University’s School of Theatre, where she grew her love for and skills in dramaturgical methods. She currently serves as the board president for Persephone Productions Montreal. 

Recent external credits include: Creative Consultant, POTUS (The Segal Centre); Cultural Consultant & Audience Engagement, English (The Segal Centre for the Performing Arts); Senior School Drama Teacher, The Study School; Co-Director, Pool (No Water) (Persephone Productions Montreal); Director, Romeo & Juliet (Classic Repertory Theatre); Director, The Scarlet Letter (Classic Repertory Theatre); Artistic Associate, New Repertory Theatre; Dramaturg & Director, The Tragic Ecstasy of Girlhood (Boston Playwrights’ Theatre); and Script Reader & Conservatory Associate, American Conservatory Theater.

THE YOUNG CREATORS UNIT IS FINANCIALLY SUPPORTED BY:
Wordmark of the Government of Canada
Patrimoine canadien/Canada Heritage logo

The Residency Creators of the 2024 Glassco Translation Residency in Tadoussac

The Glassco Translation Residency in Tadoussac is taking place from June 1st to the 12th!

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.


La dernière cassette | Translation from French to English

Inspired by Beckett’s Krapp’s Last Tape, La Dernière Cassette is a portrait of a once renowned and respected director AB, aka André Brassard. AB now spends his days in a wheelchair, sitting in front of a computer – his only window to the world. Alone in his apartment, AB listens to recordings he’s made over the years, searching for the defining moment of his life, before deciding to record one last tape. Translating La Dernière Cassette brings a major, forgotten artist back to life in English while introducing this relatable and insightful character to as wide an audience as possible.

Bobby Theodore

Translator

Olivier Choinière

Playwright

Bonnes Bonnes | Translation from French to English

In a combination of documentary theatre, on-stage cooking and projections, three Chinese women come together to watch a video adaptation of Jean Genet’s classic Les Bonnes. The friends speak candidly about their feelings around identity and internalized racism, especially in a world where China’s financial and political power continues to grow. And why do an adaptation of a play by a dead white guy anyway? Differences amongst the women emerge and tensions grow until the desire for revenge boils over. 

The show is also a middle finger to those who made fun of the smell of their lunches at school.

Sophie Gee

Translator & Playwright

Tamara Nguyen

Playwright

Le traitement de la nuit  | Translation from French to English

During the Glassco Residency, I hope to complete a rough draft of my English translation of Evelyne de la Chenelière’s play, LE TRAITEMENT DE LA NUIT. The narration/action of the play is non-linear, elliptical, enigmatic. The unsaid colours everything the characters say, and say repeatedly. It feels like an exorcism is taking place around this dysfunctional family’s dinner table. Spending time with the playwright, being able to unravel the unspoken strands of the script with her, will make all the difference. Our conversations will illuminate my understanding and rendering of the play in English.

Linda Gaboriau

Translator

Evelyne de la Chenelière

Playwright

Bénévolat | Translation from French to English

Amaryllis étudie en sciences à l’université. Anthony est incarcéré dans un pénitencier. Chacun aurait dû mener sa vie en parallèle, sans se croiser. Ils aboutiront pourtant dans le même petit local terne où, deux heures par semaine, Amaryllis se transformera en professeure de français et, Anthony, en élève du secondaire. Au fil de ces rencontres hebdomadaires, ils devront, malgré eux, apprendre à se connaître.

Danielle Le Saux-Farmer

Translator

Maud de Palma-Duquet

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. Since January 2024, she’s had three translations presented in Montreal : Lucy Kirkwood’s Chimerica, at Duceppe; and at Théâtre du Rideau Vert a Québécois adaptation of Benoit Solès’ La Machine de Turing, as well as a translation of Kendall Feaver’s The Almighty Sometimes, consecutively between January and April. 

Since 2006, Maryse has benefited from the wonderful Glassco Translation Residency in Tadoussac on nine occasions. This is the third 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 Residency logo -- a hand-drawn line underneath two thick pathways.

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 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.

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friends and family of Bill Glassco
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