Stageworthy

About This Episode: Bryn Kennedy returns to Stageworthy to talk about directing Riot King's production of The Moors by Jen Silverman — a darkly comic Victorian Gothic play about isolation, power, and the cost of giving up community. Bryn shares why this unsettling tale of spinster sisters, a mysterious governess, a mastiff dog, and a moorhen feels urgently relevant in our age of individualism and loneliness. Beyond The Moors, Bryn and Phil dig into big questions facing Canadian theatre: How do we reach audiences who aren't already theatre people? Why do we struggle to communicate story in our marketing? And what can we learn from Hollywood, fringe festivals, and even church about building community and inviting people in? Bryn also reflects on her work as a director, actor, producer, and marketer — and what she learned about the next generation of theatre-makers while managing Musical Stage Company's One Song Glory program. This episode explores: Why The Moors speaks to our culture of isolation and individualism The magic of the BMO Incubator Space at the Theatre Centre What Riot King gets right about indie theatre community Why we need to stop assuming everyone knows the classics What Bryn learned from working with fearless theatre kids And much more! Guest: 🎭 Bryn Kennedy Bryn Kennedy (she/her) is a director, producer, sometimes actor, spreadsheet planner, community builder and life-long learner. As a director, her favourite credits include the upcoming production of The Moors with Riot King, a new interpretation of Vitals by Rosamund Small (Outstanding Solo Performance Nomination, My Entertainment Awards), Beneath the Bed by Gabriel Golin (sold out, site specific run at Toronto Fringe) and new, speculative fiction play JANE by Camille Intson (inaugural Tarragon Greenhouse Residency). She is an alumni of Director's Lab North, Musical Stage Company‘s Apprentice Program and the Stratford Festival Langham Directors Workshop, where she was the recipient of the Jean Gascon Award for Emerging Director at the Guthrie Awards. She has also held assisting positions with prolific Canadian directors Jackie Maxwell (Withrow Park at Tarragon, Ransacking Troy at Stratford), Chris Abraham (Natasha Pierre and the Great Comet of 1812 and Rogers V Rogers at Crow's) and Peter Pasyk (Hamlet at Stratford). She is currently the Assistant to the Artistic Director at Crow's Theatre and Associate Artistic Director at Directors Lab North. Connect with Bryn Kennedy 🌐 Website: brynkennedy.com 📸 Instagram: @brynkennedy Get tickets to the Moors: https://theatrecentre.org/tickets/?eid=188037 The Moors runs until April 19 at The Theatre Centre. Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this episode, Phil sits down with Miriam Cummings, a playwright, performer, and educator who creates deeply personal solo theatre. Miriam shares how a tongue-in-cheek suggestion at Canada's National Voice Institute led her to write and perform her first solo show, The One, and how that experience opened up new ways of being vulnerable on stage. She reflects on the protective barriers she built as a young actor after experiencing profound loss, and how solo performance helped her dismantle those walls and get closer to herself as an artist. Miriam also discusses her second solo show, Wide, which pushed the boundaries of audience participation and co-creation, and how moving from Montreal to BC transformed both her body and her art. As an educator, she believes everyone has inherent presence and that actor training is about uncovering the joy of play we all had as children. This conversation explores grief, presence, the writing process, and the courage it takes to be honest on stage. This episode explores: How a casual suggestion led Miriam to create her first solo show The terrifying vulnerability of hearing your own writing read aloud for the first time Navigating grief and loss in theatre school and building protective barriers as an actor The difference between creating The One and Wide, and the role of movement in Miriam's writing process Teaching presence, play, and helping adults reclaim what they loved as children And much more! Guest: 🎭 Miriam Cummings Miriam (she/her) is an artist, actor, and educator who creates on the ancestral, unceded territory of the Syilx Okanagan Nation. Playful improvisation that connects breath, body, and voice to image is at the core of Miriam’s practice. She holds an MFA (Performance & Creative Writing) from UBCO and a BFA (Acting) from Concordia University. Based in Tiohtià:ke / Montréal for more than a decade, Miriam performed with local companies such as Repercussion Theatre, Montréal Improv, and co-founded Hopegrown Productions, an incubator for new plays. Her solo performance and research of psychologically safe actor training methods have been selected for residencies in Ontario, Québec, and British Columbia. Miriam has instructed adults across the country for more than a decade, teaching acting, devising, and creative writing classes as Part-Time Faculty at Concordia University and workshops at Sheridan College, Okanagan College, Geordie Theatre School, Tempest Theatre, Kaleidoscope Theatre, Rosebud School for the Arts, and more. Miriam offers accessible classes for everyone that boost confidence, creativity, and self-expression through actor training techniques and coaches people one-on-one. Connect with Miriam: 📸 Instagram: @mcummings___ Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: Creative producer Alexis Eastman joins Stageworthy host Phil Rickaby to explore what it really means to be a creative producer in Canadian theatre. From her early days making work at the Toronto Fringe to her current role supporting artists through long-term development processes, Alexis shares insights into how she bridges the administrative and creative aspects of theatre-making. She discusses her collaborations with artists like Adam Lazarus on shows including Daughter and the upcoming Versus, and how her approach to producing integrates her into the creative process as a true collaborator. Alexis also opens up about how becoming a mother profoundly changed her perspective on producing, the importance of failure in the creative process, and her journey from devised theatre to discovering she's actually a novelist. She reflects on growing up in an evangelical church and how that shaped her artistic practice, the necessity of boredom for creativity, and why long-term relationships between artists and producers lead to deeper, more rigorous work. This episode explores: What a creative producer actually does and how it differs from traditional producing The importance of long-term artist support and development in theatre How motherhood transformed Alexis's approach to producing and collaboration Working with Adam Lazarus on Daughter and the new show Versus Why failure and time are essential ingredients in the creative process And much more! Guest: 🎭 Alexis Eastman Alexis Eastman is a writer and creative producer based in Toronto. A graduate of York University's Creative Ensemble program, she learned her producing craft at the Theatre Centre under Ashlyn Rose, where she served as producer from 2018. Alexis works as a creative collaborator integrated into the artistic process from idea through development to premiere and beyond. She has collaborated extensively with artists including Adam Lazarus on Daughter and the upcoming show Versus. Beyond producing, Alexis is also a novelist, having discovered that novel writing is her true creative practice. She brings her experience as a mother and her background growing up in an evangelical church to inform her thoughtful, emotionally intelligent approach to supporting artists. Connect with Alexis Eastman: 📸 Instagram: @alexis_leanna Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: What happens when three goblins discover the complete works of Shakespeare and decide to stage Macbeth? Rebecca Northan and Bruce Horak, the creative minds behind Spontaneous Theatre and the Goblin Empire, join Phil to share the wild origin story of Goblin:Macbeth; from a rushed eight-day creation to becoming a phenomenon at major Canadian theatre festivals. They discuss the challenges of performing in Hollywood-grade silicone masks, the art of caring for audiences while embodying creatures, and how they've managed to sneak improvisation into prestigious Canadian theatre companies like the Stratford and Shaw Festivals. This episode explores: The serendipitous eight-day creation of Goblin Macbeth and performing in expensive silicone masks How mask work, clown technique, and bouffon influence the goblins' relationship with audiences Sneaking improvisation into mainstream Canadian theatre at Stratford and Shaw Festivals The legacy of Keith Johnstone and Loose Moose Theatre Company in shaping Canadian improv Why live theatre is the antidote to artificial intelligence and isolation And much more! Guests: 🎭 Rebecca Northan and Bruce Horak Rebecca Northan is a "Jill-of-all-trades": actor, director, playwright, improviser,producer, and sometimes-prop-maker. She is the Artistic Producer of Spontaneous Theatre, known for its audience-centered creations that almost always break the fourth wall. Rebecca has worked across Canada as an actor and director. Most recently she co-created Murder-on-the-Lake for the Shaw Festival, which played to 87% houses in the 2025 season. In 2026, Rebecca will travel to Bard on the Beach, in Vancouver, to direct the Merry Wives of Windsor, and will then remain perform in Goblin:Oedipus. Rebecca, and co-creators Bruce Horak & Ellis Lalonde continue to expand the "Goblin Empire", with several future Goblin projects in the hopper. Rebecca is a Canadian Comedy Award Winner, and has also starred in two Canadian TV series ("Alice, I Think", and "The Foundation"). She also teaches improvisation occasionally, and hopes to someday launch a training facility. Rebecca's hit show, Blind Date, has toured across Canada, parts the US, off-Broadway, and in London & Oslo. Bruce Horak is originally from Calgary, Alberta where he trained in Theatre and Improvisation at the prestigious Loose Moose Theatre. He has worked professionally in Canada and abroad for over 25 years. He can be seen onscreen in Star Trek: Strange New Worlds for Paramount Plus as the Chief Engineer, Hemmer. When not creating new works and performing onstage, Bruce devotes his time to painting, composing, and writing. Connect with Rebecca Northan and Bruce Horak: 🌐 Spontaneous Theatre: spontaneoustheatre.com 📸 Instagram: @spontaneoustheatre 📸 Instagram: @rebeccanorthan 📸 Instagram: @brucehorak Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, Phil Rickaby is joined by the vibrant and multifaceted Tika McLean. In a conversation that is as funny as it is profound, Tika reflects on her journey from a self-described "shy kid" who once froze during a church solo to becoming a bold, multidisciplinary artist who uses her voice to challenge the status quo. In this episode: The "General Creative" Philosophy: Why Tika refuses to choose just one lane between acting, dancing, and painting. Art as Social Commentary: Using satire to address racism and the "distraction economy." Navigating the Industry with Disability: The reality of chronic pain, healthcare "sensitivity," and accessibility on stage. The K-Pop Connection: How global fandoms and the South Korean idol system inspired her new musical project. And much more! Guest: 🎭 Tika McLean Tika McLean is a performer who uses acting, singing, dancing & painting as creative outlets to express her performance abilities to her audience. She created her one woman (for now) production company, Beyond A Productions, and shares her comedy skits, cover songs and dances on her YouTube channel TIKA! (@tikacreates), & LOVES to perform live! Tika strives to build mutual aid networks in her community through her work with various organizations as an outreach worker for people experiencing homelessness, hosting clothing drives and a portable soup kitchen, and handing out Covid fun packages for people in isolation. She continues to volunteer in her community by mentoring youth & young adults to create their own community initiatives & achieve their career goals. She also is the proud creator of GIVE ‘EM LOVE, an art fundraiser platforming communities experiencing oppression due to stigma, to finally have the opportunity to tell their stories to the world. Tika wants you to know that mutual aid networks are key to creating positive change in our communities. Connect with Tika: 📸 Instagram: @angry_black_womban 🎥 TikTok: @angry_black_woman 📺 YouTube: @TikaCreates Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby sits down with Emily Jeffers for a thoughtful and wide-ranging conversation about artistic identity, collaboration, and carving out a sustainable life in theatre. Emily shares insights into her creative journey, reflecting on the evolution of her practice and the realities of working as an artist today. From navigating uncertainty to embracing curiosity, she speaks candidly about the challenges and rewards of making work that feels both personal and communal. The conversation explores process, risk-taking, and the importance of staying open to change in an ever-shifting theatrical landscape. This episode explores: Emily’s path into theatre and the experiences that shaped her voice The balance between artistic ambition and practical sustainability Collaboration as a creative engine The role of vulnerability in performance and creation Redefining success on your own terms And much more! Guest: 🎭 Emily Jeffers Emily Jeffers is an actor, producer, comedian and clown based in Toronto. She has developed her comedic sensibilities through instructors and training from l’École Philippe Gaulier (France), Spymonkey Theatre (UK), the Idiot Workshop (Los Angeles), Second City, Bad Dog Theatre, and Sweet Action Theatre. Emily is known for absurd, physical characters like Bitty-Bat, the Mathemagician, and her drag persona Sheonardo DiCaprio. She has performed at Second City, Toronto Sketchfest, Montreal Sketchfest, the Montreal Clown Festival, Toronto Fringe and Edinburgh Fringe. Ever a champion of the ridiculous, Emily also produces the variety shows Tight Five and Sketch Party as well as workshops to support the professional development of clowns and performers in the Toronto community. Connect with Emily: 🌐 website: www.emilyjeffers.ca 📸 Instagram: @blemilybleffers 📸 Instagram: @bittybatshow Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode In this episode of Stageworthy, host Phil Rickaby speaks with Virginia Woodall, producer at the Toronto Sketch Comedy Festival. With the festival entering its 21st year, Virginia shares the story of how she moved from volunteer to producer, how 164 submissions become a 12-day lineup of 78 troupes, and why sketch comedy deserves recognition as its own artistic discipline. In this episode: The evolution of the Toronto Sketch Comedy Festival How the programming committee evaluates 160+ submissions Why sketch comedy is a distinct art form — not just “theatre adjacent” Community-building within the sketch scene The role of monthly comedy cabarets Why Virginia calls Sketchfest “Comedy Christmas” And more! Guest: 🎭 Virginia Woodall Virginia Woodall is a producer at the Toronto Sketch Comedy Festival. She's an arts administrator and creative producer with a background that bridges the cultural and corporate sectors (she’s a textbook Libra: very balanced). Drawing on years of experience in comedy, live performance, and festival production, she combines strategic thinking with a deep love for the creative process. Her prior work in corporate sales and marketing helps her build buzz, grow partnerships, and develop organizational growth strategies. Virginia is passionate about creating inclusive, accessible, and joyful arts experiences that support artists and strengthen community. Connect with Virginia & Toronto SketchFest 🌐 Website: torontosketchfest.com 📷 Instagram: @tosketchfesthttps://www.instagram.com/tosketchfest/ 📷 Instagram: @iamvirginiawoodall Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode In this episode of Stageworthy, host Phil Rickaby speaks with acclaimed playwright, actor, and screenwriter Anusree Roy about her newest play, Through the Eyes of God, now onstage at Theatre Passe-Muraille. The conversation explores Roy’s evolving artistic process, the deeply personal roots of her storytelling, and her journey between theatre and television writing. In this episode: Writing as an act of witnessing and responsibility The emotional and ethical weight of socially engaged theatre Navigating the Canadian theatre landscape as a playwright of colour Collaboration, trust, and the rehearsal room as community Sustaining an artistic life while carrying urgent stories And much more! Guest: 🎭 Anusree Roy Anusree is a two time Governor General’s Award-nominated and four-time Dora Award-winning writer, actor, and director. Anusree is currently the Co-Executive Producer and writer for the Allegiance S3 (CBC) television series. She has also worked on Interview With The Vampire S3 (AMC), Allegiance S2 (CBC), Transplant S2 (NBC/Netflix/CTV), I Woke Up a Vampire (Netflix), SkyMed (Paramount+/CBC), Remedy (Global TV), Killjoys (SyFy), and Nurses S1 & S2 (NBC/Global TV). For theatre, Anusree’s plays include: Through the Eyes of God, Sisters, Trident Moon, Little Pretty and The Exceptional, Sultans of the Street, Brothel # 9, Roshni, Letters to my Grandma, and Pyaasa. She is the recipient of the K.M. Hunter Award, the RBC Emerging Artist Award, the Carol Bolt Award and the Siminovitch Protégé Prize. She was the 2018 finalist for the Susan Smith Blackburn Prize (the largest and oldest playwriting prize for women writing for English-speaking theatre). Currently, she is the commissioned playwright at Tarragon Theatre, writing her new play, 147, 8th Street. Anusree is presently developing a feature film inspired by her audio play, Sisters, as well as directing and premiering her short films, The Birthday Party and God’s Plan (winner of Best Performance & Best Editing at WIFF). She is also an adjunct professor of playwriting at the University of Toronto and a professor of creative writing, teaching advanced drama to MFA students, at the University of British Columbia. Anusree's playwright residencies include: Nightwood Theatre, Young People's Theatre, Factory Theatre, The Blyth Festival, Theatre Passe Muraille, The Canadian Stage Company and Tarragon Theatre. Anusree spent two seasons as an actor at the Stratford Festival of Canada. She holds a B.A. from York University and an M.A. from the University of Toronto, and most of her plays have been published by Playwrights Canada Press. Anusree was a board member for Playwrights Canada Press for over five years and a juror for the Toronto Arts Council, Ontario Arts Council, Canada Council for the Arts, Michael Than Foundation Award, Toronto Arts Foundation Awards and the George Luscombe Mentorship Award. Her works have appeared in multiple anthologies including: Refractions: Scenes, Refractions: Solo, Love, Loss and Longing: South Asian Canadian Plays, Truth in Play, Dramathemes, TOK: Writing the New Toronto, and Diaspora Dialogues Anthology. Anusree's plays have been taught at the University of Toronto, York University, Ryerson University, Wilfried Laurier University, the University of Calgary, the University of Guelph, the University of Regina, McGill University and the National Theatre School. Connect with Anusree 🌐 Website: www.anusreeroy.com 📸 Instagram: @writeranusreeroy Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this episode of Stageworthy, host Phil Rickaby sits down with Dienye Waboso Amajor — a Dora-nominated Nigerian actor, writer, and interdisciplinary artist living and working in Ontario. With an academic background in theatre and performance studies and ongoing doctoral research, Dienye’s practice bridges performance, scholarship, and cultural storytelling. This Episode Explores: Dienye’s journey as a Nigerian artist working in Canada The relationship between scholarship and performance practice Creating work grounded in lived experience and research The role of voice — personal, cultural, and artistic Balancing academic study with creative practice And much more! Guest: 🎭 Dienye Waboso Amajor Dienye Waboso Amajor is a Dora Nominated Nigerian Actor, Writer, Performer and Mother who lives and works in Ontario. Dienye holds an MA in Theatre and Performance studies from York University with a keen interest in Pre-Colonial African Theory, Performance and Development. Dienye is a published writer whose work can be found on the online publication She Does the City. In 2022, she developed and debuted a new visual and photographic work titled “Rest” which seeks to prioritize and localize the exploration and imagery of Black bodies in a state of Rest. Dienye is currently continuing her studies as a PhD student in the Theatre Dance and Performance program at York University. She currently works with Suitcase in Point Multi Arts company as the Associate Artistic Director. Connect with Dienye 📸 Instagram: @sodiandtheboys Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this episode of Stageworthy, host Phil Rickaby sits down with Tim Porter, founding Artistic Director of Tweed & Company Theatre, to talk about what it means to build a sustainable professional theatre company outside of major urban centres. This Episode Explores: Founding Tweed & Company and building a company from the ground up Why regional and rural theatre matters in Canada Audience relationships outside major urban centres Sustainability, scale, and expectations in Canadian theatre The difference between serving a community and chasing prestige And much more! Guest: 🎭 Tim Porter: Tim is a performer, writer, and director from Tweed Ontario. As Tweed & Company’s founding Artistic Director, he’s written/directed several full Canadian musicals and directed/performed in countless others. Acting credits include: Nine seasons with Drayton Entertainment performing in countless shows including Buddy the Elf in ELF!, George in the Drowsy Chaperone, six pantos as the Buttons track, Les Mis, Man of La Mancha, Marathon of Hope, Kinky Boots, Singing in the Rain, and many more.; multiple North American tours as Rooney Doodle in CBC’s ‘The Doodlebops’; the original Canadian Productions of ‘Evil Dead: The Musical’ and ‘Cannibal: The Musical’. Tim is also a King Charles the 3rd Coronation Medal recipient, two time Premier’s Award of Ontario nominee and Terry Doyle Memorial Award recipient (Drayton Entertainment). He is honoured to produce quality theatre for Hastings County and Eastern Ontario. Connect with Tim and Tweed & Company: 🌐 Website: www.tweedandcompany.com 📷 Instagram: https://www.instagram.com/tweedandcompany/ Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this episode of Stageworthy, host Phil Rickaby speaks with Jack Burrill, actor, director, acting coach, and Artistic Director of Unchained Theatre. What begins as a shared nerd-out over Shakespeare quickly becomes a wide-ranging conversation about why these 400-year-old plays still matter - and how indie theatre is often where their most exciting reinventions happen. This episode explores: Founding Unchained Theatre during the pandemic Modernizing classic texts without losing their soul Performing Shakespeare in small, intimate spaces Why indie theatre matters in Toronto’s ecosystem Theatre as an irreplaceable live experience And much more! Guest: 🎭 Jack Burrill Jack Burrill is an actor, a director, a writer, teacher and the proud Artistic Director and co-founder of Unchained Theatre. As Jack has taken part in productions that he has both acted in and directed (often at the same time.) Some of Jack’s credits include Denise Shepard (Laramie Project), Wargrave (And Then There Were None), Sir Toby Belch (Twelfth Night), Titania/Theseus (Midsummer Night's Dream), Falstaff (Henry IV Part 1). And recently Jack will be Claudius in Hamlet. Jack was recently nominated by Broadway World for his performance as Titania/Thesus in Thaumatrope Theatres production of Midsummer Nights Dream. Jack was trained at Centennial CollegeTheatre Arts and Performance program. As well as being trained in both the Grotowski method by Ara Glenn-Johanson and the Michael Chekhov Technique by Rena Polley and Lionel Walsh, with an aspiration to be trained in more of the legendary practitioner’s methods. He hopes to continue his work and research by producing Shakespeare and learning the different approaches to the craft of acting to pass it on to future generations of actors and artists. Connect with Jack Burrill & Unchained Theatre: 📸 Instagram: @jackieb123_______ 📸 Instagram: @unchained_theatre_company___ Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this solo Stageworthy episode, host Phil Rickaby takes a deep dive into the idea of “nation-building” — and why Canada keeps getting it wrong. Sparked by post-election rhetoric around pipelines, railways, housing, and AI infrastructure, Phil argues that these are construction projects, not nation-building ones. True nation-building, he suggests, happens through culture — and specifically through the arts. Drawing on Canadian history, from the Massey Commission to the creation of the Canada Council for the Arts, Phil traces how arts funding was once understood as a form of national defence — a way of protecting Canadian identity from cultural erasure. He contrasts that history with today’s fixation on GDP, ROI, and “bankable” outcomes, and asks what happens to a country when its soul is treated as discretionary. This episode is part rant, part cultural history lesson, and part call to action — urging Canada to remember that theatres, music, film, and storytelling don’t just entertain us. They define us. Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this episode of Stageworthy, host Phil Rickaby sits down with Gabrielle Martin, Artistic Director of Vancouver’s PuSh International Performing Arts Festival. Gabrielle discusses her unconventional path into arts leadership, the realities of curating large-scale interdisciplinary work, and the responsibility of presenting challenging, global performance within a local context. This episode explores: Gabrielle’s journey into arts leadership and festival direction The role of PuSh Festival within Vancouver’s cultural ecosystem Curating interdisciplinary and international performance Audience engagement and accessibility in contemporary performance The realities of producing large-scale work in Canada Care, sustainability, and leadership in the performing arts And much more! Guest: 🎭 Gabrielle Martin Gabrielle Martin is a cultural producer and live arts curator practicing transformative experiential design in one of society’s few remaining ritual spaces. Her work prioritizes embodied criticality, imagination, pluralism, and risk. It centres the body, and is framed by social and political urgencies. Gabrielle has a BFA in Contemporary Dance from Concordia University (Montréal), a Certificate in Dramaturgy from the Centre National des Arts du Cirque (Châlons-en-Champagne), and an MA in Arts and Cultural Management from Rome Business School. Recently, Gabrielle has participated on curatorial and selection juries for Denmark’s CPH Stage International Days, England’s Horizon Showcase, and Canada’s Governor General’s Performing Arts Award in Dance. Before joining PuSh in 2021, she worked as Festival Manager with the Vancouver International Dance Festival. Prior to working in arts management, Gabrielle performed over 1,400 shows internationally with Cirque du Soleil’s TORUK – The First Flight and Cavalia, participated in choreographic residencies in Belgium, Sweden and France, and presented her work in the UK, US, and across Canada. Connect with Gabrielle: 🌐 Website: https://pushfestival.ca/ 📷 Instagram: @pushfestival Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this episode of Stageworthy, host Phil Rickaby sits down with theatre producer and arts leader Reid Vanier for a candid conversation about producing, leadership, and building sustainable theatre ecosystems. Reid reflects on his path into the industry, the realities of working behind the scenes, the theatre scene in Whitehorse, and the evolving responsibilities of producers in today’s cultural landscape. This episode explores: Reid’s journey into theatre producing and arts leadership Balancing artistic ambition with organizational sustainability Leadership styles within theatre companies and cultural institutions Supporting artists while managing limited resources The evolving landscape of Canadian theatre production Collaboration, trust, and communication in creative teams And more! Guest: 🎭 Reid Vanier Reid (he/him) is a director and actor originally from Ontario but now based in Whitehorse, Yukon. He was worked on and off-stage at numerous theatres and arts organizations in Canada, including the Stratford Festival and Shaw Festival, and currently serves as the President of the Guild Hall in Whitehorse. Reid is also an award-winning podcaster and comedian. Selected directing: The Weir, Monty Python's Spamalot, Mustard (The Guild), Fiddler on the Roof (Yukon Theatre for Young People), Matt & Ben (Hot Cousin Productions), An Ideal Husband (KW Youth Theatre), The Real Inspector Hound, Hamlet, Romeo & Juliet (Standard Deviation Theatre). Selected acting: Two Gentlemen of Verona (Yukon Theatre for Young People), Good Night Desdemona Good Morning Juliet (The Guild), The Three Musketeers, Henry V (Stratford Festival), La Persistencia, The Dumb Waiter, On the Harmfulness of Tobacco (Standard Deviation Theatre). Selected workshops: Klondike: The Musical (The Guild), Body 13 (The MT Space). Training: University of Waterloo. Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

In this episode of Stageworthy, host Phil Rickaby sits down with Joe Szekeres, founder of Our Theatre Voice, for an in-depth conversation about theatre criticism, community theatre, and why live performance still matters. As Stageworthy enters its tenth year, this discussion reflects on the changing landscape of Canadian theatre journalism, the responsibilities of reviewers, and the importance of constructive, thoughtful criticism. This episode explores: Joe’s path from community theatre to theatre criticism The founding and philosophy behind Our Theatre Voice The value of training and mentorship in theatre criticism Constructive criticism versus negativity Funding pressures and their impact on production choices Championing Canadian stories and homegrown work And much more! Guest: 🎭 Joe Szekeres Actor/director for 30+ years in the local community theatre scene in Durham Region. Retired 33-year Catholic school educator. Founder, Editor and Publisher of OUR THEATRE VOICE. I had also written for Onstage Blog (founder: Chris Peterson) until 2020, when COVID hit and Onstage changed its formatting. Chris encouraged me to go out on my own. Connect with Joe: 🌐 Website: www.ourtheatrevoice.com 📸 Instagram: @ourtheatrevoice Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In this special roundtable episode of Stageworthy, host Phil Rickaby is joined by theatre critics and podcasters Janine Marley (A View From the Box) and Ryan Borochovitz (The Cup / Cup of Hemlock Theatre) for an in-depth conversation reflecting on the past year in Toronto theatre. Connect with Janine and A View From the Box: 🌐 Website: aviewfromthebox.net 📸 Instagram: @avuefromthebox 🦋 Bluesky: @aviewfromthebox.bsky.social __ Connect with Ryan and The Cup of Hemlock Podcast: 📸 Instagram: @cohtheatre 🔴 Youtube: @cupofhemlocktheatre2934 Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week, Phil Rickaby welcomes Stephanie Malek, performer and producer, to discuss the magic of improvised musicals, the history of Bad Dog Theatre, and the power of finding community through art. Stephanie, who is involved in the show Holiday, an improvised musical, shares insights into the rigorous training required for musical improv, the importance of nurturing other artists, and more! In this episode: Holiday, the Improvised Musical at Factory Theatre Bad Dog Theatre, Improv and the community The Fandom Show Podcast And more! Guest: 🎭 Stephanie Malek Stephanie Malek (she/her) is a producer, performer, fangirl, comedian, singer, and all around nerd from Toronto, ON. She is known for producing and performing in the Dora-nominated improvised musical Holiday! An Improvised Musical! She can be found performing at comedy venues around Toronto and the world at festivals such as JFL, New Zealand Improv Fest, and Toronto Sketchfest. Connect with Stephanie and Bad Dog Theatre: 🌐 Website: baddogtheatre.com 📸 Instagram: @baddogtheatre | @stephanie_malek Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby welcomes Kanika Ambrose, an award-winning playwright, librettist, and screenwriter whose work spans theatre, opera, and television. Kanika shares her path from writing poetry as a child to becoming one of Canada’s most exciting multidisciplinary storytellers, known for blending sharp social insight with bold, imaginative worlds. She discusses her three plays in production right now: our place, at Black Theatre Workshop, The Christmas Market at Crow's in association with b Current and Studio 180 Theatre and Moonlight Schooner at Canadian Stage, in association with Necessary Angel and Tarragon Theatre. This episode explores: Kanika’s creative beginnings and path to becoming a playwright Finding her voice in writing after initially pursuing acting How motherhood reshaped her creative life Creating space for Black women and Caribbean stories in Canadian theatre and much more! Guest: ✍️ Kanika Ambrose Kanika Ambrose is a two-time Dora Award winning playwright, opera librettist, and screenwriter. Her play “our place,” was first produced by Cahoots Theatre and Theatre Passe Muraille in November 2022 and received a Dora Mavor Moore Award for “Outstanding New Play” in 2023. She received a second “Outstanding New Play” Dora in 2024 for “Truth” which premiered at Young People’s Theatre earlier the same year. Moonlight Schooner Tickets: 🎟️ https://my.canadianstage.com/overview/9330 Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby welcomes Fiona Sauder, co-founder and Artistic Director of Bad Hats Theatre. Known for their inventive, musical, family-friendly adaptations of classic literature, Bad Hats has become one of Toronto’s most celebrated indie theatre companies. Fiona shares the origin story of the company, beginning with a serendipitous brewery production of Peter Pan and growing into a long-standing partnership with Soulpepper, as well as their upcoming production of Narnia. This episode explores: The origins and evolution of Bad Hats Theatre How Fiona approaches adapting iconic children’s literature Theatre as a space of joy, presence, and shared imagination Fiona’s artistic journey from Ottawa to George Brown to Soulpepper And much more! Guest: 🎭 Fiona Sauder Fiona Sauder is a Director, Writer, and Performer from Ottawa, ON. The co-founder, and Artistic Director of Bad Hats Theatre, Fiona is a multi-Dora Award winning artist whose writing has been presented across Canada. Select Directing credits include: Narnia, Alice In Wonderland, (Asst.), Life In A Box, Piper (Bad Hats Theatre); The Wind In The Willows, Holiday Inn (Asst.) (Shaw Festival); Every Brilliant Thing, Bed And Breakfast(Orillia Opera House); A Year With Frog and Toad (Capitol Theatre); Uncovered: The Music of ABBA, The Music of Dolly Parton (Musical Stage Co.). Connect with Fiona & Bad Hats Theatre: 🌐 Website: badhatstheatre.com 📸 Instagram: @badhatstheatre Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Dian Marie Bridge, Artistic Director of the Black Theatre Workshop (BTW) in Montreal. Dian discusses the legacy of BTW, which is celebrating its 55th anniversary this year , as one of Canada's oldest Black and ethnocultural theatre companies. The conversation delves into the company's commitment to community service and fostering new talent through its influential program, as well as BTW's production of Kanika Ambrose's Our Place at Montreal's Segal Centre for Performing Arts (Studio) from Nov. 19-30. This episode explores: BTW’s 55th Anniversary and Mission The Play Our Place, by Kanika Ambrose BTW's Club Zed Festival, featuring work by Black writers The Theatre scene in Montreal BTW's Artist Mentor Program And much more! Guest: 🎭 Dian Marie Bridge Dian Marie Bridge is an award-winning writer, director, dramaturge and creative producer who seeks to open spaces, provide platform, enrich community-bridge building. She was previously Associate Artistic Director at Luminato Festival Toronto, Artistic Director intern at Obsidian Theatre, Artist-in-Residence at Necessary Angel Theatre, Founding Artistic Producer of Cric Crac Collective, and 4LargeHeads multi-arts Collective, and a member of Stratford Festival’s Michael Langham Workshop for Classical Direction. Dian holds a degree in Theatre Arts and Dramatic Literature from Brock University and was enrolled in the University of Minnesota’s Theatre Arts and Dance program (Twin Cities).Previous work includes Our Place; Vierge; Every Day She Rose (BTW), Beloved: A Celebration of Toni Morrison and Black Women Writers; Guided By Starlight; Golden Hour (Luminato Festival Toronto), The Mountain Top (Persephone Theatre), Made In Congo (Theatre Row United Solo Festival), Aneemah’s Spot (Cric Crac Collective /Motion Live), Geometry; Domesticity; Fuzz; Cotton Comes Home (4LargeHeads Collective) Connect with Dian and Black Theatre Workshop: 🌐 Website: blacktheatreworkshop.ca 📸 Instagram: @theatrebtw 📸 Instagram: @dianmariebridge Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby welcomes Aaron Joel Craig (Same Boat Theatre) and Stephanie Hope Lawlor (Rooks Theatre) to discuss their co-production of Ibsen’s A Doll’s House in Hamilton. This episode explores: Reimagining A Doll’s House as a story for 2025 audiences The intersection of feminism, capitalism, and personal freedom Building independent theatre in Hamilton’s evolving arts scene The power of site-specific and intimate performance spaces Collaboration between Rooks Theatre and Same Boat Theatre Creating sustainability and opportunity for indie theatre artists How theatre can thrive outside major city centers Turning creative frustration into community impact Guests: 🎭 Aaron Joel Craig Aaron Joel Craig (he/him) is a director, dramaturge, designer and performer. His theatre work focuses on questions of identity, power and how to stay hopeful in a difficult world. Some past projects include Test, Your Own Sons and The Conspiracy of Michael, and the national tour of Whale Fall, all with Same Boat, and Henry the Fifth and Waiting for Godot for Redeemer University and, most recently, Hamlet, the inaugural site-specific co-production by Same Boat and Rook’s Theatre. He lives in the East End of Hamilton with his partner, Cath, their two kids, and his probably-too-big record collection. You can find him some days at Last Supper Books, a new independent bookstore on James Street North, which also serves as the home of Same Boat Theatre’s monthly play reading and development series, Dispatches. 🎭 Stephanie Hope Lawlor Stephanie is an award-winning multi-hyphenate who lives and works in Hamilton. She spends her days crafting artistic community, facilitating space for brave individuals to hone their creative voices, and making theatre with really great people. Selected Theatre: Hamlet (Rook’s x Same Boat), Rebecca in Whale Fall (Same Boat Theatre in Hamilton, Vancouver, Toronto, then Hamilton again), Eleanor in Never Not Once, Cassandra in One Night Only, Liesl in The Sound of Music (Theatre Aquarius), Mary/Flowers in Mary’s Wedding, Vanda in Venus in Fur (Rook’s Theatre), Snow White (Drayton Ent.), Young Leda in Provenance (Berkeley Street Theatre), Florence in Why Do Fools Fall in Love? (Stage West), KC Downing in My Favorite Year, Wagner/Wrath in Doctor Faustus (RAPA), Mary Snow in Salt-Water Moon (Studio Theatre). In Concert: Don’t Laugh (Unless I’m Trying to be Funny) (cabaret debut), From Broadway With Love, Isabella Tarantella (Brott Music Festival), Stephanie and Shane meet Stephen, Women of Musical Theatre Festival (MAP, 2 seasons). Workshops: Too many to name, for Theatre Aquarius, Young Peoples’ Theatre, Young Street Theatricals, Berkeley Street Theatre, Sullivan Entertainment. Training: Randolph Academy for the Performing Arts (Randolph College), McMaster University. Stephanie serves as Associate Artistic Director at the Hamilton Conservatory for the Arts and Director of Programming for the HCA Theatre School, and is a two-time Hamilton Arts Award nominee and the recipient of the only Innovation - Cutting Edge Gilded Hammer Award for her work in the Hamilton theatre community (2020). Connect with Aaron & Stephanie: 🌐 Same Boat Theatre: sameboattheatre.com 🌐 Rooks Theatre: rookstheatre.com 📸 Same Boat Theatre on Instagram: @sameboattheatre 📸 Aaron on Instagram: @aaronjoelcraig 📸 Rooks Theatre on Instagram: @rookstheatre Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby welcomes Will Parry, actor, singer, and content creator based in Toronto. Known for his work as a musical theatre performer and social media consultant for artists and theatre companies, Will shares insights into how creatives can better express their authentic selves online while building stronger connections with audiences. This episode explores: Balancing social media and theatre careers Authenticity and “brand voice” for artists and theatre companies Finding confidence in sharing your work online Discovering puppetry through The Wizard of Oz and beyond The art of cabaret and creating personal connection on stage Writing for young audiences and exploring digital culture through theatre and more! Guest: 🎭 Will Parry Will Parry (they/he) is an Actor-Singer-Content Creator based in Toronto. Recent theatre credits include Hare in Hare & Tortoise (Carousel Players), Milky White/Steward/etc. in Into the Woods (Koerner Hall), Seán/Donald The Leprechaun in The Wild Rovers (Smile Theatre), Toto in Wizard of Oz: The Panto (Drayton Entertainment), Magician/Demonstrator in Illusionarium (Starvox Entertainment), and Scuttle in The Little Mermaid (SLC Stage). They have also created and performed in cabarets with Theatre Gargantua, Icarus Theatre, and a self-produced virtual cabaret during isolation, Here I Am: A Cabaret. He is a graduate of the St. Lawrence College Music Theatre Performance Program. In addition to being a performer, Will is a Social Media Content Creator. As a creator, Will has collaborated with brands including Fabricland, White Claw, and Freshii with management clients including CBC Kids’ Ukulele U, Koerner Hall, Drayton Entertainment Youth Academy, CGDC, and more! Connect with Will: 🌐 Website: www.will-parry.com 📸 Instagram: @willxparry 🎵 TikTok: @willxparry Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby welcomes Steven Hao, actor, director, and artistic director of Puckers Theatre Company. Currently in his second season at the Stratford Festival, Steven shares his journey from Victoria, BC, to the national stage, performing in acclaimed productions like Anne of Green Gables, Forgiveness, Salesman in China, and Romeo and Juliet. This episode explores: Steven’s journey from improv and high school musicals to the Stratford Festival Building a company (Puckers) to champion new voices and sustainable theatre The need for long-term investment in Canadian plays and playwrights Artistic leadership and the challenges of developing the next generation of ADs Balancing performing, directing, and leadership And much more Guest: 🎭 Steven Hao 郝邦宇 Steven Hao is an award winning director, actor, writer, and the Artistic Director of Pucker’s, currently based in Tkaronto. In his directing work, there's a huge emphasis put on 'play' that usually guides his staging process and the creative yet efficient application of design. For that reason, his work is often highly sensorial and heavily conceptual: compact with innovative stage pictures and invigorating sound and lighting design. His work can be found across many stages in Ontario, primarily with a focus on new Canadian works. Most recently, Steven appeared in the world premiere of Kat Sandler’s adaptation of Anne of Green Gables, as well as Salesman in China at the Stratford Festival, and he’s grateful for the continued opportunity to support new play development everywhere he goes. His selected theatre credits include: For Directing: Assistant Director, CRAZE (Tarragon Theatre); Director, Death to the Prometheans (Studio 180); Director, One Song Glory (Musical Stage Company); Director, life and death and life and death and life and death and life. (CCTA/ACMJIS); Assistant Director, Rocking Horse Winner (Tapestry Opera/Crow's Theatre); Director, Ordinary Days (Shifting Ground Collective); Assistant Director, Heroes of the Fourth Turning (Howland Company/Crow’s Theatre); Assistant Director, Dragon’s Tale (Tapestry Opera); Assistant Director, The Chinese Lady (Crow’s Theatre/Studio 180 Theatre/fu-GEN Theatre); Director, A Perfect Bowl of Pho (Toronto Fringe Festival/Kick & Push Festival); Director, I and You (Precipice Productions); Director, Constellations (Precipice Productions). For Acting: Two Seasons at the Stratford Festival, Anne of Green Gables, Forgiveness, Romeo & Juliet, Salesman in China (Stratford Festival); Pirithous/Wooer, The Two Noble Kinsmen (Shakespeare Bash’d); Puck, A Midsummer Night’s Dream (Canadian Stage); Cockroach, Cockroach (Tarragon Theatre). Upcoming: Director, Ride the Cyclone (Shifting Ground Collective); Director, Concord Floral (Pucker’s); Performer, Pu Songling: Strange Tales (Crow's Theatre); Third Season at Stratford Festival. Grateful to the entire team front and behind Concord Floral. Connect with Steven: 📸 Instagram: @steven_haoby 🦋 Bluesky: stevenhao.bsky.social Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Emily Dix, artistic executive director of Bygone Theatre and the lead behind their mixed use affordable arts space, The Bridge. Emily shares the company’s journey from its beginnings in classic theatre to its evolution into original Canadian works that blend vintage aesthetics with contemporary themes. She discusses her creative process, the importance of atmosphere and design, and the challenges and rewards of running an independent theatre company. This episode explores: The evolution of Bygone Theatre Building immersive, design-driven theatre experiences Challenges and opportunities of running an indie company in Toronto The role of aesthetics, nostalgia, and storytelling in Emily’s work Directing, producing, and writing for small-scale theatre Fostering community and mentorship in the theatre scene Guest: 🎭 Emily Dix Emily Dix is the Artistic Executive Director of Bygone Theatre, and the lead behind their mixed-use, affordable arts space, The Bridge, located at 379 Adelaide St. W. She has nearly 20 years of directing, producing and design experience in theatre, and has dabbled in film and tv as a researcher, designer and production coordinator. She has a degree in English, cinema studies and drama from UofT, and a paralegal diploma from Seneca College. In addition to running Bygone Theatre for 13 seasons, Emily has worked with companies such as Tarragon Theatre, Crow's Theatre, Theatre 20, Hart House Theatre, and numerous indie companies. Connect with Emily & Bygone Theatre: 🌐 Website: www.bygonetheatre.com 📸 Instagram: @bygonetheatre | @379thebridge Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by actor, singer, and producer Michael Esposito II. Michael discusses the challenges and rewards of mounting Daniel MacIvor's solo play, Monster, which he is producing and performing in Kelowna, B.C. He shares the creative process of integrating projections and music into the show to make it feel more like an immersive "monster experience" than a traditional one-person play. Michael also talks about his background in Toronto and New York, the evolving theatre scene in Kelowna, and his other work in the Okanagan Valley, including themed jazz shows at a local speakeasy winery. This episode explores: Bringing Daniel MacIvor’s Monster to life in Kelowna The creative freedom and risks of solo performance Using projection in live theatre Building independent theatre outside major city centres The importance of community and adaptability for artists The joy and discipline of performing across genres—from MacIvor to musical theatre and jazz Guest: 🎭 Michael Esposito II Michael is an international actor and singer. Since graduating from the University of Toronto and Sheridan College, Michael has travelled the world performing on six different continents. His most recent work includes Eddie Birdlace in Dogfight and Monster by Daniel MacIvor. Some of his previous work includes Alan Menken’s The Apprenticeship of Duddy Kravitz, Jersey Boys, and Disney Cruise Lines. His work in film includes The One That Got Away, Dive Shop, Adult Adoption, and The Avenue. He has been a featured vocalist on Canada's Got Talent and Casino Rama. His album "Night and Day" is available on iTunes and Spotify. Find out more about upcoming shows by following @mespo2 on Instagram. Monster: A chilling one-person play performed by Michael Esposito II and directed by Angela Quinn. MONSTER intricately peels back the psychological layers of 16 captivating characters, revealing the haunting core of their individual experiences. With a masterful blend of suspense, wit, and raw emotion, MONSTER beckons you to confront your deepest fears and embrace the profound complexities that define our humanity. ~ A finalist for the Governor General's Award for Drama ~ Connect with Michael: 🌐 Website: kemeproductions.com 📸 Instagram: @monsterplay2025 | @mespo2 🎵 TikTok: @mespo2 🎶 Listen to Michael’s album Night and Day on Apple Music Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Michael Kras, playwright, director, and one of Canada’s busiest magic designers. Michael has designed magic and illusions for theatres across the country and is the resident magic and illusions lead for the North American tour of Harry Potter and the Cursed Child. He also joins the Tarragon Theatre’s Greenhouse Residency to develop his new solo play Love Me Back, a piece that blends sleight-of-hand magic with storytelling. This episode explores: Michael’s path from magician to playwright and director Integrating magic into theatre in meaningful ways The role of magic design in Harry Potter and the Cursed Child The Hamilton theatre scene and its challenges Writing for young audiences and why those stories matter The creation of his magic book Synthesis and Secrets Developing his new play Love Me Back at Tarragon’s Greenhouse Residency Guest: 🎭 Michael Kras Michael Kras is a playwright, director, and magic designer based in Hamilton, Ontario. His plays include the Voaden Prize-winning The Team (Essential Collective Theatre/Theatre Aquarius), No Big Deal (Roseneath Theatre), The Start-Up (Theatre Aquarius/Brave New Works), Love Me Back: A Magic Show (Green Light Arts/Tarragon Theatre Greenhouse Festival) and The Year and Two of Us Back Here (Broken Soil Theatre). He has been an artist-in-residence at Roseneath Theatre, Essential Collective Theatre, Theatre Aquarius, Green Light Arts, Tarragon Theatre, and Caravan Farm Theatre. He currently serves as the Magic & Illusion Lead for the North American Tour of Harry Potter and the Cursed Child (Sonia Friedman/Bespoke Theatricals) and previously served as resident magic director for the play’s Canadian premiere with Mirvish Productions. Other magic direction credits include the Canadian premiere of Clyde’s by Lynn Nottage (Canadian Stage), Versus (QuipTake), The Extinction Therapist (Theatre Aquarius), Richard III: A Spectacular Stand-Up Act (Caravan Farm Theatre), A Christmas Carol (Maltz Jupiter Theatre), and Franklin’s Key (Pig Iron Theatre). Michael is an alumnus of the Theatre Aquarius Playwrights Unit, the Caravan Farm National Playwrights’ Retreat, and Directors Lab North Connect with Michael: 🌐 Website: michaelkrasworks.com 📸 Instagram: @michaelkras Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Chloë Whitehorn, who is currently based in Kingston, Ontario. Chloë, a former actor, discusses her journey to becoming a prolific writer, focusing on themes of women's rights and mental health. She talks about how her plays—which include The Pigeon, Blood River, and Fall After Midsummer —are driven by characters and their emotions rather than just issues. Chloë also offers a glimpse into the Kingston theatre scene, her unique writing methods, and her perspective on why Canadian theatre struggles with second productions. This episode explores: How Chloë's approach to playwriting is rooted in character and emotion, stemming from her acting background. The challenge of tackling dark themes and how she judges where to stop when exploring traumatic topics. Her writing process, which involves working well with deadlines and puzzling pieces together rather than outlining. Why she returned to Canada after living in the US and the cultural differences she observed. The atmosphere and supportive community of the Kingston theatre scene compared to Toronto. The difficulty Canadian plays face in securing a second production after their premiere. Guest: 🎭 Chloë Whitehorn Described as "Dorothy Parker meets Neil Labute meets M. Night Shyamalan", Chloë Whitehorn is an award winning playwright, actor, and wearer of black dresses. A graduate of Queen's University's theatre program, Chloë’s work often challenges societal preconceptions and examines the broken bits of ourselves we all try to hide while injecting humor into difficult topics. Born in California, Chloë's hippie-artist mother raised her in a world of circus artists, puppeteers and activists until moving to Canada where she spent her days figure skating, writing short stories, and developing a love of theatre. Some of her plays include: Madness Lies (TK Fringe 2025), The Fall After Midsummer (TK Fringe 2024, Come Play by The Lake One-Act Festival BEST PRODUCTION 2025), Blood River (Theatre Kingston 2023), Dressing Amelia (Bottletree 2024), The Pigeon (Life With More Cowbell's Top Ten Shows in Toronto of 2018), Love, Virtually (Best of Fringe Toronto 2011), Mourning After the Night Before, Divine Wrecks, and How to Not Die Horribly in a Fire. Productions of her plays have been performed across Canada, the United States and the United Kingdom. Upcoming productions in November include The Fall After Midsummer at the Eastern Ontario Drama League one act festival in Merrickville and Hurricane Tales at the Alumnae Theatre in Toronto. Chloë's current work-in-progress "Admit Two" will be produced as part of Bottletree Productions' studio series in 2026. Connect with Chloë: 🌐 Website: www.chloewhitehorn.com 📸 Instagram: @chloewhitehorn 🦋 Bluesky: chloewhitehorn.bsky.social Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Courtney Stoltz, the production manager for a new community theatre company in Kenora, Ontario, called So I guess we're doing this. Courtney shares her journey from actor to production manager. She provides a look into the theatre scene in Northwestern Ontario and the experience of taking their original play, Finding Richard Close, to the Winnipeg Fringe Festival. Courtney also discusses the unique balance of working in health promotion in remote Indigenous communities while pursuing her passion for theatre, highlighting the company's commitment to community wellness and their ambitious plans for the future. This episode explores: The formation of So I guess we're doing this, a theatre company founded by two family physicians in Kenora. The themes of community, family, and healing in their original play, Finding Richard Close. The challenges and triumphs of a new company performing at the Winnipeg Fringe Festival. The state of the theatre scene in Northwestern Ontario and the passion of its artists. The company's future vision, including a potential regional tour and their goal of becoming a professional theatre company. Guest: 🎭 Courtney Stoltz Courtney is the production manager for So I Guess We're Doing This? Theatre Company, based in Kenora, Ontario. She was born and raised in Edmonton, Alberta. Her theatre journey there included performing in Northern Lights Theatre's productions of Beauty and the Beast and Robin Hood at the Edmonton Fringe Festival in 2009 and 2010, respectively. She has appeared in numerous productions with Missoula Children's theatre, including King Arthur's Quest, The Adventures of Robinson Crusoe, and The Princess and the Frog. She attended Foote Theatre School, which culminated in a performance of A Chorus Line and Victoria School of the Arts from grades 10-12. She has recently appeared in TryLight Theatre's productions of My Fair Lady and Holmes and Watson. This is Courtney's first time approaching a show from the production side rather than being on stage, and it has been both fun and educational. When not thinking about theatre, Courtney works in Health Promotion in Kenora, Ontario. She is an avid whitewater kayaker and loves spending her weekends in the summer finding new rapids to challenge her. You also might find her mixing cocktails behind the bar where she works part time. Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Liz Buchanan, a Hamilton-based actor, writer, and director who is also the artistic director of 9M Theatre. Liz shares her journey as a playwright and performer, focusing on her two Hamilton Fringe shows Gnomes A Traumatic Comedy (2023) and Liz A Traumatic Comedy (2024). She discusses her long-standing fascination with gnomes, how she uses humour and absurdity to explore personal trauma on stage, and more. This episode explores: The creative process behind Liz's two fringe shows, which use comedy to explore themes of trauma and healing. The personal and surprising history of her fascination with gnomes, stemming from her childhood and the show Fraggle Rock. The decision to transition from a multi-cast show (Gnomes) to a solo performance (Liz) to tell a more personal story. The unique pressures and catharsis of performing a solo show, especially when the material is autobiographical. The founding of her theatre company 9M Theatre, and its focus on a mix of original work and small-scale, intimate productions of Shakespeare Guest: 🎭 Liz Buchanan Liz is an actor, writer and director in Hamilton who runs a small independent company: 9M Theatre, which puts on a mix of original and modern work in between small, intimate productions of Shakespeare classics. She has written 3 plays that she has produced at the Hamilton Fringe Festival: 2018's "The Director's Cut", 2023's critical hit "Gnomes: a Traumatic Comedy" and her 2025 follow-up "Liz, a Traumatic Comedy". When she isn't on stage or behind the scenes Liz works part time as a teacher and part time as a Standardized Patient at McMaster University. Connect with Liz 📸 Instagram: @9mtheatrecompany | @9mtheatre | @gnomeiswheretheartis Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by playwright Chelsea Woolley. Chelsea discusses her latest play, Enormity, Girl, and the Earthquake in Her Lungs, which is being produced by Nightwood Theatre. She shares the fascinating, eight-year journey of the play's development, from its original concept to a workshop production with theatre students, and the challenges of being a playwright in the rehearsal hall. Chelsea also talks about her unique approach to writing, which involves infusing humor and absurdity into a serious subject to create a piece that can only exist as live theatre. This episode explores: The development of Enormity, Girl, and the Earthquake in Her Lungs, from its original idea to its current form. Chelsea's collaborative process with director Andrea Donaldson and the cast during rehearsals. The strategic use of humor and absurdity to make a serious play more engaging and a unique theatrical experience. Her theatre origin story, from writing plays in grade school to her realization that playwriting could be a career. Guest: 🎭 Chelsea Woolley Chelsea’s playwriting work includes: Enormity, Girl, and the Earthquake in Her Lungs (Nightwood Theatre), Paint Me This House of Love (Tarragon Theatre), The Mountain (Geordie Theatre), and The Only Good Boy (Theatre BSMT). Her work has been featured at the Kennedy Centre in Washington D.C., and at the “Shakespeare is Dead” Festival in Belgium. She is the founder of the Mixed-Arts Performance Partnership Program connecting young artists living in precarity to professional mentorship, and co-wrote a script titled, One Day with teens at Red Door Shelter. Chelsea is the Head of Drama at the Canadian Children's Opera Company where she has directed a number of operas including the 2025 production of Dido and Aeneas. Chelsea is the 2025 Tarragon Theatre Bulmash-Siegel New Creation Development Residency Award recipient, and is a graduate of the National Theatre School of Canada’s Playwriting Program. Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: In a solo episode of Stageworthy, host and producer Phil Rickaby discusses the looming threat to Canadian theatre and arts due to government funding cuts. He reflects on the recent mandate that all government departments, including the Canada Council for the Arts, must find 15% in savings, which will result in significant cuts to arts programs. Phil explores why the arts in Canada are so vulnerable to these cuts, citing a long-standing public perception that they are not essential or relevant to the average Canadian. He poses critical questions about the future of theatre in Canada, including what companies will do to survive and how the arts community can better articulate its value to the public and to the government. This episode explores: The significant impact of a mandated 15% cut to the Canada Council for the Arts. The challenge of public perception that the arts are for "elites" and are not relevant to most Canadians. The historical context of Canadian-made content being seen as inferior to that of the US or UK. The importance of the arts in defining Canadian identity and what it means to be a nation. Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Toronto-based actor Virgilia Griffith, who is currently appearing in two shows at the Shaw Festival: Blues for an Alabama Sky and Murder on the Lake. In this conversation, Virgilia discusses the unique demands of each production and how they complement one another, keeping her acting practice fresh and present. She shares her journey from aspiring dancer to award-winning actor, the importance of mentorship, and how she found her calling in theatre. This episode explores: Virgilia’s path to becoming a theatre artist The power of mentorship and the artists who shaped her career What it means to bring authenticity and lived experience to performance The importance of representation and telling underrepresented stories How she approaches the creative process as an artist. Guest: 🎭 Virgilia Griffith Virgilia Griffith is a Toronto based actor. Winner of the Meta Emerging Artist Award for Gas Girls written Donna Michelle St. Bernard. Winner of the Dora Mavor Moore awards for Outstanding Performance for Harlem Duet written by Djanet Sears. She was also a Dora Mavor Moore nominee for Outstanding Female in an Independent Division for her performance of Honesty directed by Jordan Tannahill and a Dora nomination for Iphigenia and the Furies ( On Taurian Land) (Saga Collectif). Selected credits include: Three Sisters (Soulpepper Theatre/ Obsidian), Rosmersholm (Crow’s Theatre), Our Place ( Cahoots/ Theatre Passé Muraille), Queen Goneril/ King Lear ( Soulpepper Theatre Company), Serving Elizabeth (Stratford Festival), 21 Black Futures (Obsidian Theatre Company/CBC Gem), Contractions (Studio 180), Guarded Girls (Tarragon Theatre/ Greenlight Arts), Ma Rainey’s Black Bottom ( Soulpepper Theatre), The Wedding Party ( Crow's Theatre), Other Side of the Game (Cahoots/ Obsidian Theatre), Da Kink In My Hair ( Theatre Calgary/ Nac), How We Are ( Mikaela Davies and Polly Phokeev Productions), Up The Garden Path (Obsidian Theatre Company). Support Stageworthy: If you love the show, consider supporting on Patreon: patreon.com/stageworthy Patrons get early access to episodes, participate in conversations about topics to cover, and more. With three backer levels: $2, $7, and $20. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Iain Moggach, former Artistic Director of Theatre by the Bay in Barrie, Ontario. In this thoughtful conversation, Iain shares his journey from actor, administrator, and ultimately artistic director, reflecting on what it means to build theatre outside of a major city centre. He speaks to the unique challenges and opportunities of working in Barrie, and the importance of creating space for regional stories. This episode explores: Iain’s journey to theatre leadership The role of mentorship and community in his career path The challenges of running a theatre company outside major urban centres Building partnerships and engaging new audiences in Barrie The importance of perseverance, adaptability, and curiosity in theatre-making Guest: 🎭 Iain Moggach Iain Moggach is an award-winning theatre producer, director, and performing arts educator based in Barrie, Ontario. Iain was the Artistic Director of Theatre by the Bay from 2018-2024, where he received numerous awards including the Barrie Business Award for 'Young Professional of the Year' in 2019, and the Barrie Arts Award for 'Contribution to the Community' in 2024. Some highlights of his time there include launching the Simcoe County Theatre Festival, expanding the company's Indie Producer Co-op into a national program, and commissioning several world premieres including 'Icemen' by Vern Thiessen, as well as new plays by Chloé Hung and Colleen Murphy. As a director, Iain has directed professional theatre productions in seven cities across Canada, working in diverse styles including musicals, Shakespeare, contemporary drama, historical storytelling, and world premieres of new Canadian plays. Most recently, his production of Vern Thiessen's 'Bluebirds' at Theatre on the Ridge received tremendous acclaim from critics and audiences. As a theatre educator and mentor, Iain has developed programs for emerging directors and producers, facilitated workshops for arts organizations, and championed the growth of regional theatre across Ontario. His work reflects a deep commitment to the future of Canadian theatre and to building inclusive, supportive spaces for the next generation of performing artists. In the last year, Iain has also found himself working as a Consultant; supporting organizations such as the Huronia Symphony Orchestra, the Kingston Theatre Alliance, and Art and Water Cultural Group with strategic growth. Connect with Iain 📸 Instagram: @imoggach 🌐 Website: www.imoggach.com Support Stageworthy If you love the show, consider supporting on Patreon: https://patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Nancy Kenny, an actor, writer, and producer whose latest show, I Don’t Feel Pretty/Chu pas cute, will have readings at the 2025 Halifax Fringe Festival. In this warm and insightful conversation, Nancy shares the deeply personal inspiration behind her show, the balance between humour and vulnerability in storytelling, and the journey of shaping a one-person play from lived experience. This episode explores: The origins of I Don’t Feel Pretty/Chu pas cute and its autobiographical elements Using humour to explore challenging personal topics The Fringe Festival as a space for experimentation and connection Lessons learned from workshopping solo performance Building audience trust and creating space for shared vulnerability Guest: 🎭 Nancy Kenny A proud Acadian originally from New Brunswick, Nancy Kenny is a fluently bilingual (French/English) actor, writer, theatre and film producer, who splits her time between Kjipuktuk/Halifax and Tkaronto/Toronto. She is best known for the award-winning, critically acclaimed plays, Roller Derby Saved My Soul (Canadian Comedy Award nominee - Best One Person Show), and Everybody Dies in December. Nancy is also the executive producer of On the Fringe, a feature documentary about touring the Canadian Fringe Festival circuit. (Winner: Best Documentary Film, 2023 Screen Nova Scotia Awards). Currently, she is working on I Don’t Feel Pretty/Chu pas cute, an absurdist dark comedy set in the fractured mind of an alcoholic on a bender. Through her company, Broken Turtle Productions, Nancy’s focus is in stories that explore the role of women, marginalized genders, and 2SLGBTQ+ people in society. She is particularly interested in new and multilingual works, as well as works that explore our humanity with a darkly comedic bent. Connect with Nancy: 🌐 website: https://www.nancykenny.ca/ 📸 Instagram: @thenancykenny Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Evan Bawtinheimer, a Toronto-based, Dora Award winning playwright. Evan shares the inspiration behind his play award winning play, Patty Picker. In this candid and thoughtful conversation, Evan opens up about playwriting, his journey of personal growth and mental health, and why vulnerability and connection are central to his artistic work. This episode explores: Evan’s evolution from musical theatre performer to playwright The value of personal storytelling and creating space for others Navigating imposter syndrome and artistic doubt Building a theatre company rooted in honesty, humour, and support Why community matters more than perfection in indie theatre Guest: 🎭 Evan Bawtinheimer Evan Bawtinheimer is a Dora Award Winning Bipolar Playwright from Toronto, ON. He is a graduate of Fanshawe College's Theatre Arts program and Brock University's Theatre Arts program. Patty Picker is his first professionally produced play. Patty Picker premiered at the 2024 Toronto Fringe Festival. It was also nominated for a 2024 Tom Hendry award and Four 2025 Dora Awards, winning one for Outstanding New Play (Theatre for Young Audiences). Connect with Evan: 📸 Instagram: @evan_bawtinheimer Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby is joined by Michelle Langille, an actor, director, and burlesque performer whose journey has taken her from Toronto to Cape Breton. In this deeply personal and wide-ranging conversation, Michelle talks about her roots in musical theatre, what it means to redefine success on your own terms, and how returning to a smaller community reignited her creative spark. From lessons in understudy generosity to creating her burlesque persona "Honey de Mele," Michelle shares insights about art, sustainability, and joyful reinvention. This episode explores: Michelle’s early inspirations and love of musical theatre The journey through multiple theatre schools and cities How a move to Nova Scotia shifted her career trajectory Her experience as a burlesque performer and fundraiser producer Making theatre in small communities and the power of local talent Lessons in kindness, mentorship, and the importance of joy in the rehearsal room Her directorial journey leading to upcoming work at Neptune Theatre Thoughts on work-life balance and the future of Canadian theatre Guest: 🎭 Michelle Langille Michelle Langille is an actor/director born in Antigonish, who currently lives in Sydney Cape Breton Nova Scotia. Michelle studied Musical Theatre at the Canadian College of Performing Arts in Victoria BC and Classical Theatre at George Brown College in Toronto. As a director Michelle just completed directing The Producers (Highland Arts Theatre) and Annie (Savoy Theatre). She is about to start rehearsals for Come From Away as a Diane (Savoy Theatre) then she heads to Halifax to direct her first show for Neptune Theatre, the Wizard of Oz then immediately heads back home to direct Frozen at the Savoy. Michelle was a member of Neptune Theatre’s Chrysalis project working on The Last Wife and Peter Pan. She assisted on the world premiere of Lo (or Dear Mr. Wells) a Nightwood Theatre production at Crows Theatre. Her first directing opportunity came with The Penelopiad at Hart House Theatre which garnered a number of Subscriber Choice awards including awards for lighting, set, overall design, favourite supporting actor and favourite director. She was a member of Nightwood Theatre’s Write from the Hip Playwright’s unit (2016/2017) with her play Ten Days which received a second workshop with PARC in 2019. Favourite performing credits include Mary’s Wedding, Saltwater Moon (Single Thread) A Man Walks Into a Bar (Amblemore) Clique Claque (Pea Green/Next Stage Festival) Gray (Theatre Inamorata) Mamma Mia (The Savoy Theatre), The Sound of Music, Oliver!, Evita, The Wizard of Oz and Beauty and the Beast and most recently as Magenta in The Rocky Horror Show (Neptune Theatre). Michelle is also a burlesque performer who appears as Honey De Mele and is the current and first chair of the Atlantic Burlesque Festival , the first festival east of Montreal which just finished its second sold out year. Connect with Michelle: 📸 Instagram: @michelle_langille Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

About This Episode: This week on Stageworthy, host Phil Rickaby welcomes ted witzel, Artistic Director of Buddies in Bad Times Theatre, to discuss the company’s 2025–2026 season and the vital role Buddies plays locally and globally. In this wide-ranging and passionate conversation, ted talks about the curatorial ethos behind the season, how queerness informs both aesthetic and practice, and why Buddies remains a radical, necessary space in an increasingly conservative climate. This episode explores: The inspiration and process behind curating the 2025–2026 Buddies season Why queerness is more than representation—it's a creative methodology The value of festivals (Rhubarb, Nuit Blanche, Queer Pride) in Buddies' identity Longing as a theme: desire, intimacy, revolution, and more Highlights from the season including The Green Line, Make Banana Cry, The Herald, and The Begging Brown Bitch Plays The importance of unruliness, disobedience, and disrespectability in queer theatre The enduring legacy and global uniqueness of Buddies in Bad Times Guest: 🎭 ted witzel ted witzel (he/him) is a queer theatre-maker and artistic leader from toronto / tkaròn:to. primarily a director, ted is also variously a dramaturg, curator, teacher, writer, translator, designer, and performer. he has worked with theatres and cultural organizations across canada, the uk, germany, and italy. fusing high-octane performance, rigorous dramaturgy, digital aesthetics, and poetic text, ted’s directing is located at the intersection between the personal and the political, and the (visceral, emotional, intellectual) frictions between them. ted was a guest curator for the 2023 edition of the summerworks festival and is a member of the theatre committee at the toronto arts council. he recently completed a four-year tenure as artistic associate and laboratory director at the stratford festival, where he oversaw the company’s research and development programs. these included a broad portfolio of new works in development, equity-focused systems change, artist residencies, and a collection of artistic explorations and programs that aim to help imagine the future orientation of the company. ted holds a masters of arts management from SDA bocconi and an MFA in directing from york university and canadian stage. in 2018, he was selected as an artistic leadership resident at the national theatre school, and was a member of the banff centre’s 2019 cultural leadership cohort. he has been artist-in-residence at harbourfront centre, buddies in bad times (toronto) and institut für alles mögliche (berlin). Connect with Buddies in Bad Times Theatre: 📸 Instagram: @buddiesTO 🌐 Website: buddiesinbadtimes.com Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

This week on Stageworthy, host Phil Rickaby welcomes Aisling Murphy, theatre reporter for the Globe and Mail. In a wide-ranging and engaging conversation, Aisling shares the journey from musical theatre student to one of Canada’s leading theatre critics. They discuss her early roots in Baltimore, her move to Canada, and how a moment of personal upheaval redirected her path from performing to criticism. Now six months into her role at the Globe, Aisling offers sharp insights into the world of Canadian theatre and the delicate balance of being both a critic and a supporter of the art form. This episode explores: Aisling's transition from performer to theatre critic Her journey from Ottawa to Toronto, and eventually to the Globe and Mail The challenges of reviewing peers and staying impartial Differences between Canadian and American theatre ecosystems The unique opportunities and responsibilities of being a national critic Her thoughts on critical integrity, honesty, and theatre as public record The importance of documenting Canadian theatre for the future Guest: 🖋️ Aisling Murphy Aisling ("ash-ling") Murphy is the theatre reporter for The Globe and Mail. A native of Baltimore, Maryland, she was the senior editor of Intermission Magazine from 2021-2025 and during that time also worked as a staff writer at the Toronto Star and CP24/CTV News Toronto. As a freelance culture writer, she wrote for publications including the New York Times, CBC Arts, the Stratford Beacon-Herald and her hometown paper, the Baltimore Sun. She is an occasional playwright and frequent Swiftie. She lives in Toronto with her husband and two cats. Connect with Aisling: The Globe and Mail: https://www.theglobeandmail.com/authors/aisling-murphy/ 📸 Instagram: @aisling.murph Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

This week on Stageworthy, host Phil Rickaby welcomes annemieke wade, Executive Director of the Toronto Alliance for the Performing Arts (TAPA). annemieke shares insights from her first six months in the role, her vision for TAPA’s future, and her deep commitment to building frameworks of care and collaboration in Toronto’s arts sector. From revitalizing artist support programs to reimagining rehearsal and performance norms, this conversation highlights the evolving landscape of Canadian theatre and the importance of intergenerational dialogue. This episode explores: The challenges and steep learning curve of succeeding a 21-year ED at TAPA The role and scope of TAPA, from the Dora Awards to mentorship and training programs The B Street Arts Hub and its community resources annemieke's career journey from Vermont to Toronto and into arts leadership The impact of her late ADHD diagnosis and the power of self-understanding Her vision for more flexible, sustainable work practices in the arts The importance of bridging generational divides in the theatre community Guest: 🎭 annemieke wade annemieke wade (she/her) is the Executive Director at the Toronto Alliance for the Performing Arts (TAPA) and a dedicated advocate for inclusivity in the arts. Originally from St. Albans, Vermont, annemieke headed to Ontario for school in 1994 and graduated from the University of Toronto Mississauga/Sheridan College joint Theatre and Drama Studies program in 1998. Once on Canadian soil, she never really left! Despite a brief return home to complete an MBA from Champlain College in Burlington, Vermont, annemieke had fallen shamelessly in love with Toronto and became a citizen in 2013. With over 20 years of industry experience both on and off stage, annemieke champions strategically undervalued communities through programming and engagement that prioritizes diversity and active representation. She previously served on the TAPA Board of Directors (2016-22) and Eligibility Committee (2022-24), was a contributing member of the PGC/PACT contract negotiations working group (2022-23) and currently sits on the TAC Theatre Committee (2023-26). annemieke was recently honoured with a nomination as a Woman of Influence for the 32nd RBC Canadian Women Entrepreneur Awards. Connect with Annemieke: 📸 Instagram: @miekechu11 🌐 Learn more about TAPA: tapa.ca Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!Bio, and socials go here

This week on Stageworthy, host Phil Rickaby brings you a fourth and final Toronto Fringe Extra episode, featuring interviews with 4 Toronto Fringe Artists, in advance of the Toronto Fringe Festival, running July 2-13 at various locations around Toronto. In this episode: Ronit Rubenstein, creator and performer of Things My Dad Kept SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/things-my-dad-kept Alice Lundy, director and producer of The Adding Machine SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/adding-machine Nam Nguyen one of the writers and performers of Q_uiz Icarus_ SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/quiz-icarus Sara Mayfield, writer and performer of Who Drinks Mocktails on the Beach?! SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/who-drinks-mocktails-beach If you value thoughtful conversations about Canadian theatre, consider supporting the podcast on Patreon: patreon.com/stageworthy Backers get early access to episodes and help shape future roundtable discussions. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

This week on Stageworthy, host Phil Rickaby welcomes Rachel Kennedy and Laura Paduch, the co-leads of the Toronto Fringe Festival. With the 2024 edition just days away, Rachel and Laura share insights into what makes this year’s festival unique, including the exciting new partnership with Soulpepper Theatre, the return of beloved venues, and the community-building magic that Fringe fosters year after year. They also reflect on their personal journeys with Fringe, the evolution of self-producing in theatre, and the vital role that Fringe plays in launching careers. This episode explores: What a Fringe Festival is and how the Toronto Fringe operates The 2024 move to a central hub at Soulpepper in the Distillery District The return and growth of unconventional venues across the city The evolution and merging of the Next Stage Festival into Fringe Peer mentorship and producer pods supporting first-time creators Why Fringe is vital for risk-taking, experimentation, and community-building Guests: 🎭 Rachel Kennedy – Executive Director, Toronto Fringe Rachel Kennedy (she/they) is the Executive Director & Co-Lead at the Toronto Fringe Festival. For the last decade, they have had the pleasure of supporting local indie theatre and dance productions as a producer, director and stage manager and arts administrator. Rachel’s love for the arts centres around a passion for advocacy, equity, and bringing communities together through storytelling. Thanks to wonderful collaborators throughout her career, Rachel has learned much about the unique needs of Toronto’s artists and how essential their impact is across the City and beyond. Rachel is thrilled to serve the Toronto Fringe community and can't wait for this summer's Festival (join us July 2-13th!). 🎭 Laura Paduch – Managing Director, Toronto Fringe Laura Paduch (she/her) is the Managing Director & Co-Lead of the Toronto Fringe Festival, a mid-size arts organization that has been a platform for independent performing arts for over 35 years. She is a producer, arts administrator, and advocate, and has had the privilege of serving the Toronto Fringe Festival community since 2018. Before that, Laura was the General Manager of fu-GEN Theatre Company, and ARC, where she advanced the inaugural joint management initiative. Laura's additional professional experience has included extensive stage and production management, event production, theatre producing, and performance creation. The Toronto Fringe offers a community conduit that enables her to champion mentorship and resource sharing, and re-casting new norms and standards for arts sector workplace practices. She has sat on the TAPA Advocacy Committee, is on the ArtsVote Steering Committee, and the board of directors of the Canadian Association of Fringe Festivals. Connect with Toronto Fringe: 📸 Instagram: @toronto_fringe 🌐 Website: fringetoronto.com Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!Bio, and socials go here

This week on Stageworthy, host Phil Rickaby brings you a third Toronto Fringe Extra episode, featuring interviews with 4 Toronto Fringe Artists, in advance of the Toronto Fringe Festival, running July 2-13 at various locations around Toronto. In this episode: Laura Piccinin, co-creator and producer of the new musical Apothecary SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/apothecary From Regarding Antigone, Dramaturg esi calendar and Assistant Director, Sarah Larmony SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/regarding-antigone Alicia Payne, playwright and co-prodcer of Justice for Maurice Henry Carter SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/justice-maurice-henry-carter Writer and performer of Terrible Fish, Montreal’s Caitlin Murphy. SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/terrible-fish Watch for another Toronto Fringe Extra on Thursday, Next week! If you value thoughtful conversations about Canadian theatre, consider supporting the podcast on Patreon: patreon.com/stageworthy Backers get early access to episodes and help shape future roundtable discussions. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

This week on Stageworthy, host Phil Rickaby welcomes Ben Yoganathan, a Toronto-based actor, writer, and director whose latest work, Zeitgeist, will premiere at the 2024 Toronto Fringe Festival. In a lively and wide-ranging conversation, Ben shares the inspiration behind Zeitgeist, his theatre journey from Guelph to Toronto, his experience with unconventional venues, and his recent creation residency in Zurich. This episode dives into the highs and lows of making independent theatre and what it means to be a young artist in an overwhelming world. This episode explores: The inspiration behind Zeitgeist and its cinematic influences The creative process behind developing a play about navigating life in your 20s The benefits and challenges of unconventional fringe venues Ben’s experience at a creation residency in Zurich Thoughts on the shifting pedagogy of theatre education The value of Fringe festivals in building a theatre career Guest: 🎭 Ben Yoganathan Ben Yoganthan is an actor, writer, composer, and director born in Sri Lanka and based in Toronto. Since graduating from Toronto Metropolitan University, he has performed as Hal/Henry V in Driftwood Theatre’s Henry V, Andrei in The Howland Company’s Three Sisters, and Todd Tweedle in Mixtape Project’s Dora-nominated musical Killing Time. As a composer, Ben has contributed music to Kole Durnford's play ECHO (Edmonton Fringe Festival) and several dance works: Embrasement Synaptique by Zach Bastille (Festival Quartiers Danses), a subject by Alli Carry (Fall for Dance North), and The Skin by Emily Duckett (Kinetic Studio Open Series). Ben has written two full-length plays: Hunger, which premiered at the Terra Firma Festival at the Theatre Centre, and ZEITGEIST, a workshop production he directed earlier this year and is set to premiere at the 2025 Toronto Fringe Festival. He recently completed a creation residency with Experi Theater in Zurich, Switzerland, where he developed and performed a one-person show. Ben was also selected for an international residency with the Odin Teatret in Ringkobing, Denmark. Connect with Ben: 📸 Instagram: @off.the.nose Support Stageworthy If you love the show, consider supporting on Patreon: patreon.com/stageworthy Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

This week on Stageworthy, host Phil Rickaby brings you another special Toronto Fringe Extra episode, featuring interviews with 4 Toronto Fringe Artists, in advance of the Toronto Fringe Festival, running July 2-13 at various locations around Toronto. In this episode: Emma Golden the writer and producer of the true Halifax story, Potato Potato SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/potato-potato Laura Anne Harris the writer and performer of the raw, tender, and quietly radical, Have Fun Kids. SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/have-fun-kids Matti Mclean, creator and performer of A Canadian Explains Eurovision to other Canadians SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/canadian-explains-eurovision-other-canadians Sashoya Simpson, writer of LULU takes us into a world of Afro-Caribbean folklore, legacy and ancestry. SHOW INFO AND TICKETS: https://fringetoronto.com/fringe/show/lulu Watch for another Toronto Fringe Extra on Thursday, Next week! If you value thoughtful conversations about Canadian theatre, consider supporting the podcast on Patreon: patreon.com/stageworthy Backers get early access to episodes and help shape future roundtable discussions. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio | Your favourite podcast app 📺 Watch on YouTube – Like, subscribe & hit the notification bell!

This week on Stageworthy, host Phil Rickaby assembles a who's who of Toronto theatre podcasters, to talk about Toronto Fringe, shows you should see, the Next Stage Festival, ticket prices and much more! This episode features podcasters: Alison Mullings from Creative Full Time Janine Marley from A View From the Box Alexandra Lean from Being Dramatic Ryan Borochovitz from Cup of Hemlock Theatre Podcast. This episode was live streamed on youtube on July 17, 7:30pm. Support Stageworthy If you value thoughtful conversations about Canadian theatre, consider supporting the podcast on Patreon: patreon.com/stageworthy Backers get early access to episodes and help shape future roundtable discussions. Subscribe & Follow: 🎧 Listen on Apple Podcasts | Spotify | Podchaser | Amazon Music | iHeart Radio 📺 Watch on YouTube – Like, subscribe & hit the notification bell!