Who We Are


Équipe

CLICK ON THE PICTURES TO LEARN OUR STORIES.

Fatma Sarah Elkashef
Artistic Director

sarah@playwrights.ca

Anne-Sophie Grenier
Managing Director

annesophie@playwrights.ca

Aki Matsushita
Dramaturge

aki@playwrights.ca

Heather Eaton
Programs and Development Manager

heather@playwrights.ca

Leila Ghaemi
Young Creators Unit Dramaturg

leila@playwrights.ca

potatoCakes_digital
Digital Dramaturgs

potatocakesdigital@playwrights.ca

Jesse Stong
New Stories and Young Creators Unit Alumni Dramaturg

jesse@playwrights.ca

Quinlan Green
Communications Manager

quinlan@playwrights.ca

Helena Canhoto
Professional Development and Training Coordinator

helena@playwrights.ca

Maureen Labonté
dramaturge de traduction

maureen@playwrights.ca

Headshot photography by Emilia Hellman. Maureen Labonté’s by Nusana Dawn, Aki Masushita’s by JB Proulx.


Histoire

PWM was the brainchild of Canadian playwrights Dan Daniels, Carol Libman, Eve Sevack and John Whalen, with the support of theatre artists Norma Springford and Doris Malcom of the Quebec Drama Association, and actors Walter Massey and Victor Knight.  The organization’s first mission was to tackle the then scarcity of English-Canadian plays and playwrights.  Soon after its conception, PWM became a leading voice in the creation of new plays.

1963

PWM is founded by Western Quebec Division of the Dominion Drama Festival.

PWM was the brainchild of Canadian playwrights Dan Daniels, Carol Libman, Eve Sevack and John Whalen, with the support of theatre artists Norma Springford and Doris Malcom of the Quebec Drama Association, and actors Walter Massey and Victor Knight.  The organization’s first mission was to tackle the then scarcity of English-Canadian plays and playwrights.  Soon after its conception, PWM became a leading voice in the creation of new plays.

Sous la direction artistique de Roy Higgins dans les années soixante-dix, le PWM entreprend des démarches pour devenir une compagnie de production théâtrale et procède à l’acquisition d’un immeuble dans le Vieux-Montréal. Cependant, la tension qui règne entre la production et le développement devient trop forte et le projet est rapidement démantelé.

1970

Roy Higgins’ Leadership

Sous la direction artistique de Roy Higgins dans les années soixante-dix, le PWM entreprend des démarches pour devenir une compagnie de production théâtrale et procède à l’acquisition d’un immeuble dans le Vieux-Montréal. Cependant, la tension qui règne entre la production et le développement devient trop forte et le projet est rapidement démantelé.

With a view to protecting the development process from production pressures, Bob White strengthened the organization’s focus on dramaturgy and development. Subsequent ADs Per Brask et Brian Richmond continued to build on this legacy and worked to expand the organization’s reach from coast to coast.

1975

Bob White becomes PWM’s first Dramaturg-Artistic Director and turns focus to dramaturgy

With a view to protecting the development process from production pressures, Bob White strengthened the organization’s focus on dramaturgy and development. Subsequent ADs Per Brask et Brian Richmond continued to build on this legacy and worked to expand the organization’s reach from coast to coast.

Artistic Director Rina Fraticelli added translation to PWM’s programming, advancing our artistic practice and expanding PWM’s reach.

1981

Translation programming is added

Artistic Director Rina Fraticelli added translation to PWM’s programming, advancing our artistic practice and expanding PWM’s reach.

Michael Springate, Svetlana Zylin, Michael Devine et Peter Smith succeeded Rina Fraticelli as artistic directors, each contributing to PWM’s profile both locally and nationally.

1984

Leadership changes

Michael Springate, Svetlana Zylin, Michael Devine et Peter Smith succeeded Rina Fraticelli as artistic directors, each contributing to PWM’s profile both locally and nationally.

As Artistic Director, Paula Danckert increased PWM’s artistic stability by introducing the permanent position of Dramaturg-in-Residence. In 2006, with support from Briony Glassco, she established the Résidence de Traduction Glassco à Tadoussac.

1998

Consolidation under Paula Danckert’s leadership

As Artistic Director, Paula Danckert increased PWM’s artistic stability by introducing the permanent position of Dramaturg-in-Residence. In 2006, with support from Briony Glassco, she established the Résidence de Traduction Glassco à Tadoussac.

During Emma Tibaldo‘s tenure as AD, PWM opened up to interdisciplinary work beyond script-based approaches, it become an officially-recognized centre thanks to Exploring Practice, the studio was transformed to become a hub of dramaturgical activities, and PWM created more permanent staff positions – including that of permanent dramaturgs.

2007

Emma Tibaldo becomes Executive and Artistic Director

During Emma Tibaldo‘s tenure as AD, PWM opened up to interdisciplinary work beyond script-based approaches, it become an officially-recognized centre thanks to Exploring Practice, the studio was transformed to become a hub of dramaturgical activities, and PWM created more permanent staff positions – including that of permanent dramaturgs.

Under Emma Tibaldo’s leadership, PWM establishes the Résidence d’écriture théâtrale de Gros Morne in collaboration with the CEAD, the Mentorat pour traductrices et traducteurs émergents de la Fondation Cole, and further developed the Résidence de Traduction Glassco à Tadoussac which, to date, has translated 63 plays for the stage.

2010

PWM extends programming further

Under Emma Tibaldo’s leadership, PWM establishes the Résidence d’écriture théâtrale de Gros Morne in collaboration with the CEAD, the Mentorat pour traductrices et traducteurs émergents de la Fondation Cole, and further developed the Résidence de Traduction Glassco à Tadoussac which, to date, has translated 63 plays for the stage.

A landmark decision was made to abolish PWM’s membership structure during the 2018 Annual General Meeting. PWM was transformed from a member-based service organization to a nationally-mandated theatre development centre.

2018

PWM transforms membership structure

A landmark decision was made to abolish PWM’s membership structure during the 2018 Annual General Meeting. PWM was transformed from a member-based service organization to a nationally-mandated theatre development centre.

After a period of introspection, led by PWM’s board of directors in collaboration with Arts Consulting Group, PWM’s organizational structure shifted to better support our internal leadership. Fatma Sarah Elkashef, Artistic Director, and Lesley Bramhill, Managing Director, are established as the new co-leadership team. In 2022, Anne-Sophie Grenier joins PWM as Managing Director.

2021 – 2022

PWM welcomes new co-leadership team

After a period of introspection, led by PWM’s board of directors in collaboration with Arts Consulting Group, PWM’s organizational structure shifted to better support our internal leadership. Fatma Sarah Elkashef, Artistic Director, and Lesley Bramhill, Managing Director, are established as the new co-leadership team. In 2022, Anne-Sophie Grenier joins PWM as Managing Director.


Groupe des 5

Header image for the Group of 5 webpage. Name of the group and image of the Firestation 14, expected home of the group.

Qu'est-ce que le Groupe des 5 ?

Le Groupe des 5 est un collectif de 5 compagnies théâtrales indépendantes professionnelles de langue anglaise cherchant à partager un espace créatif et administratif pour établir un écosystème artistique durable. Le Groupe des 5 vise à fournir à ses membres une infrastructure permanente et viable - un espace physique - où les membres peuvent partager leurs ressources, créer, et développer leur communauté.

Qui fait partie du Groupe des 5 ?

Les cinq compagnies de théâtre dynamiques du Groupe de 5 sont :

Qu'est-ce qui guide le Groupe des 5 ?

La vision du Groupe des 5 est de soutenir le développement et la présence du théâtre professionnel de langue anglaise dans le paysage artistique québécois et montréalais. Le collectif galvaniserait les échanges et le partage de ressources entre ses membres - à la fois passés et présents - dans le but de renforcer la communauté minoritaire de langue anglaise et d'élargir la portée, l'inclusivité, et le dynamisme du théâtre québécois.

Nous pensons qu'un espace partagé et l'écosystème collectif qui en résulte élargiront les frontières de la création théâtrale.

The Group of 5 is radio-controlled by the following five principles:

  1. ÊTRE LEADERS dans la communauté
  2. CONSTRUIRE une infrastructure collective
  3. SÉCURISER les fondations pour un théâtre de langue anglaise à Montréal
  4. PROMOUVOIR l'échange et la coopération entre artistes
  5. EXPÉRIMENTER avec les nouvelles technologies