by Lynn on July 21, 2021

in The Passionate Playgoer

This is a fantastic festival of local, national and international work that will take place this Fall in Kitchener.

Announcing the Lineup for IMPACT 21!

This year’s festival launch was unlike any other as we shifted online to present the lineup for our first-ever hybrid in person and online IMPACT 21 festival. We welcomed a record number of attendees to our virtual brunch table who shared in our excitement of IMPACT’s biennial return. You can rewatch the launch event here.
Introducing IMPACT 21
Festival Launch Trailer
Theatre is here. Both virtually and in the community, we present 12 days of thought-provoking and immensely creative theatre with brilliant performances from all over the world. With 4 International, 4 National, and 6 Local works, we invite you to join us from September 28 to October 9, 2021, for theatre that challenges, inspires, and connects.
View Our Festival Website Here!
Festival Highlights
Get Your Festival Pass Here!
Industry Conference: How Do We Begin Again?  What if we brought everything back to relationship, and stripped away titles but respected and honoured lived experiences―in ourselves and in each other? What if we could forge connections not out of necessity, but to truly understand one another and build a bridge? 

This year’s IMPACT Co-Instigators are devising an experiment to explore these concepts during the festival. Industry professionals from a range of perspectives will be invited to participate in an exchange that will involve documenting the journey of a relationship stripped of titles, centering lived experiences, and bridging gaps of awareness. We invite you to join us as a witness, as an Instigator, or as someone looking to shift the sector one person at a time.
Register Now!
IMPACT Festival Bar – “Face to Face” 
With the help of our friends at TWB Co-operative Brewing, we will be hosting a pop-up outdoor Festival Bar, equipped with a variety of beverages and food trucks, open every night of the festival. Wrap up a night of theatre with good drinks, good food, and great conversation! 
For those unable to join in person, we invite you to unwind with us at our virtual Festival Bar where you can pour yourself a virtual drink and mingle with friends and colleagues from near and afar. Our virtual bar enables you to have close-knit conversations and pop in and out as you desire. 
Neruda Closing Night Street Party
As per tradition, MT Space will be partnering with sister organization Neruda Arts to host the IMPACT 21 Closing Night Party! Expect great live music, good hospitality, and the company of old and new friends made throughout the festival. This night will be the celebration of theatre, music, and art that we all need. 

Stay tuned for details! 


Live and in person until July 31, 2021. Stratford, Ontario. Under the Canopy at the Festival Theatre.

Curated and directed by Thom Allison

Conducted by Laura Burton

Lighting designed by Kaileigh Krysztofiak

Sound by Peter McBoyle

The Singers:

Alana Hibbert

Gabrielle Jones

Evangelia Kambites

Mark Uhre

The Band:

Conductor, keyboard, Laura Burton

Cello, Acoustic Guitar, Electric Guitar, George Meanwell

Acoustic Bass, Electric Bass, Michael McClennan

Drum kit, David Campion

This is the second of four cabarets that are programmed at the Stratford Festival, each playing for two weeks, each with its own theme.

Why do we love musicals? What is their allure for so many? Thom Allison, the gifted curator and director of You Can’t Stop The Beat—The Enduring Power of Musical Theatre and his exemplary cast, explain it all for us in words and songs.

Musicals have provided a magic world in which our imaginations can soar. When there were years of war and strife, depression and hard times, there was the musical with its up-beat story, cheering us, getting us to move on and be resilient. The musical can deal with difficult subjects and engage the audience, often better than straight plays can. Enduring musicals have dealt with such tough subjects as: racism and intolerance (South Pacific), xenophobia (Oklahoma), wife-beating (Carousel), racial intolerance (The King and I) and the rise of Nazism in Germany etc. (Cabaret).

Any good musical sets the tone and atmosphere in the first five minutes and You Can’t Stop The Beat is no different. The sassy, classy cast of Alana Hibbert, Gabrielle Jones, Evangelia Kambites and Mark Uhre establish the pulse and throb of the endeavor with their rousing singing of “Something’s Coming’ from West Side Story. Starting slowly but barely containing the pent-up energy of the song, they then explode into full throttle, each with their own body language that moves the song.

In the world of imagination, one might say that Don Quixote was delusional, lost in his own muddled thoughts. But you would be hard-pressed to believe that after hearing Mark Uhre sing “I, Don Quixote” from Man of La Mancha with such conviction and vigor.

Love gets great representation in the world of the musical—all those sweeping chords and heart squeezing words. Thom Allison  has created a medley of love songs in which the cast shine in their own way: “Twin Soliloquies” from South Pacific sung beautifully by Alana Hibbert and Gabrielle Jones, “People Will Say We’re In Love” from Oklahoma sung by the whole cast, “If I Loved You” from Carousel with Mark Uhre doing the honours, “Mr. Snow” from Carousel  sung beautifully by Evangelia Kambites.

Musicals and Merman naturally go together. Gabrielle Jones does an impressive impression of how Ethel Merman might have started off singing “Anything Goes” from Anything Goes—full-voiced and unvarying in the force of it. Fortunately, Jones eased into singing the rest of the song, in her own powerful style but with shading and variation.

There is a constant flow of easy banter between the cast as they tease, chide and josh each other. Gabrielle Jones is reminded “Gab we cut that part.” And she replying “But I put it back in ‘cause I wanted a bigger break before my next song.” They are attentive to each other when they sing and listen and that makes the audience do the same.

Thom Allison introduces the sobering nature of musicals by including “Suppertime” from As Thousands Cheer (1933) written by Irving Berlin. The song is sung by a mother who struggles with how she will tell her children that their father and her husband will not be coming home because he was lynched by a racist mob. Alana Hibbert was heartbreaking and tender singing that song. Do we listen to the song in a different way because a white composer/lyricist wrote it for a Black character? Is this cultural appropriation or a gifted musical creator who can express the heartache and inner life of a character that we can all experience? I am glad of the questions.

“Suppertime” provided a natural way into exploring the serious nature of musicals, looking at flawed, damaged, raging and troubled characters. And nobody covers that territory better than Stephen Sondheim.  We have the plucky, darkly funny “A Little Priest” from Sweeney Todd sung with impish style by Mark Uhre and Gabrielle Jones about the variations one can bake into a meat pie; the company sings “The Little Things We Do Together” from Company itemizing the good and annoying things that make a relationship; Evangelia Kambites does a masterful job of “Getting Married Today,” from Company breathlessly and frantically explaining why she won’t be getting married today. And in a wonderful change of pace, Thom Allison throws a stunning curve ball by having Mark Uhre sing “Could I Leave You” from Follies, a song usually sung by a woman whose marriage is failing. Mark Uhre sings it with biting emotion and cool contempt. It makes us listen to that song in a different way but it leads to the same conclusion. Loved that curve ball.

This wonderful, joyous, thoughtful concert concludes with the cast singing the anthem-like song “You Will Be Found” from Dear Evan Hansen and “You Can’t Stop the Beat” from Hairspray in which you also can’t stop tapping your toe thanks to the music, the cast and the solid band.  

You Can’t Stop The Beat—The Enduring Power of Musical Theatre plays at the Stratford Festival until July 31, 2021.


On line—on Demand- from the Hamilton Fringe Festival until July 25, 2021.

Written/directed by Steven Griffen

Lighting by Nathan Bruce

Cast: Gwen Gorman

Megan Legesse

Tom Lute

The described premise of the play is so intriguing: “An ambitious reporter. A crumbling news station. A dream interview. A destructive secret that threatens it all!…Black Deer in Blizzard is a story exploring trust, ambition, truth and what we’re willing to do to achieve our dreams.”

Beverley Campbell has been toiling at the poky little news station in this poking little town for five years, but dreams of getting hired by CNN and moving to New York City. She thinks her time to move up might be established by an interview she will have with a reclusive but celebrated young artist. But things are not what they seem. Does she act with integrity and cancel the interview and cancel her chances for CNN? Or does she act ruthlessly and go ahead? Her colleague Tim, the Station Manager, always went for the truth. Tim and Beverley are at odds. Who will win?

Playwright Steven Griffen has created a fascinating premise for a play with lots to chew over regarding integrity, the news, ambition and truth in spite of the many holes in the story and the execution of the production: the stakes are not high with Beverley’s decisions because it’s obvious from Griffen’s writing of her character, that she’s a mediocre reporter and a weak interviewer and would never be hired by CNN; Tim leaves in disgust so one wonders who is filming the interview if there were only the two of them at the station. Still, the premise leaves one to ponder larger issues outside of this play.  

Produced by Fly the Nest Productions.

Plays at the Hamilton Fringe until July 25.


Performed live and in person under the canopy at the Festival Theatre, Stratford, Ont.

Curated and directed by Marcus Nance

Music Director, Franklin Brasz

Lighting by Kaileigh Krysztofiak

Sound by Peter McBoyle

The Singers: Neema Bickersteth

Robert Markus

Marcus Nance

Vanessa Sears

The Band: Franklin Brasz (conductor/keyboard)

Kevin Ramessar (acoustic guitar, electric guitar)

Jon Maharaj (acoustic bass, electric bass)

Dale-Anne Brendon (drum kit)

Why We Tell The Story: A Celebration of Musical Theatre is the first of five different cabarets that will celebrate music, song, lyrics and resilience that are performed outdoors under the canopy at the Festival theatre. I love that this show, the first of the 2021 rebounding Stratford Festival, officially opened on Tuesday, July 13, 68 years to the day that the Stratford Festival opened in 1953 under a tent. Love that symmetry.

Why We Tell The Story: A Celebration of Black Musical Theatre is curated and directed by Marcus Nance. In his gracious, open-hearted program note Marcus Nance writes: “The songs and poems you are about to hear, written by Black artists and allies, all speak to the Black experience. Black stories, Black history, the experiences of my parents, those of my ancestors and most importantly my own personal experiences have always been part of my creative instinct. Now that I have the opportunity to tell this chapter, I couldn’t think of doing it without including others….I hold great admiration for the extraordinary Black artists and allies with whom I share the telling of these stories, on this stage.”

Marcus Nance shares the stage with these gifted artists: Neema Bickersteth, Robert Markus and Vanessa Sears.

The show is composed of poems from Black poets such as Langston Hughes and Maya Angelou, and songs from various Broadway musicals that would have been sung by black artists and allies. I appreciate the inclusive embrace of Marcus Nance regarding ‘allies’, white composers, lyricists and performers in tune with and sensitive to the Black experience. I am grateful to Marcus Nance for his generosity and sense of inclusion of all voices in this endeavor. Poets Langston Hughes and Maya Angelou are Black and write about that experience in such poems in the show as: “I, Too,” “Democracy,” “The Negro Mother, “I Dream A World,” “As I Grew Older” all by Langston Hughes; “Human Family” and “Still I Rise” by Maya Angelou.  Many of the composers and lyricists of the musicals selected were Black telling their stories: Fats Waller, Andy Razaf and Harry Brooks, who wrote “Black and Blue” which is part of the score of Ain’t Misbehavin, Lebohang “Lebo M” Morake, one of the creators of the glorious song “They Live in You” from The Lion King, Charlie Smalls who wrote “Home” from The Wiz, Brenda Russell and Stephen Bray who are part of the composers/lyricists who wrote the stirring ‘anthem’, “I’m Here” from The Colour Purple.

Nance also includes the work of white composer/lyricists who illuminate the black experience in their work: Lynn Ahrens and Stephen Flaherty (Once on this Island), George and Ira Gershwin (Porgy and Bess), Cy Coleman (The Life), Roger Miller (The Adventures of Huckleberry Finn), Georges Bizet and Oscar Hammerstein II (Carmen Jones), David Bryan and Joe DiPietro (Memphis) Jerome Kern and Oscar Hammerstein II (Show Boat) for example. In our changing world, do we listen differently to these songs because of who composed them? Do we embrace the story? Marcus Nance got me thinking about all of it.   

The whole enterprise was a terrific adventure. Marcus Nance opened the cabaret with a stirring reading of Langston Hughes poem “I, Too.” It’s a poem of hope, inspiration, and delicate, but firm instruction, to those with blinkered vision. This is one of the stanzas:


I’ll be at the table

When company comes,

Nobody’ll dare

Say to me,

“Eat in the kitchen,”



They’ll see how beautiful I am

And be ashamed—

I, too, am America.”

While the theme of the evening is the idea of “home” and the power of love and the human heart, Nance reading the poem in his resonant baritone voice set the tone—one of pride, patience, perception and resilience. The cabaret is divided into telling sections: Life, Pain, Family, Faith, Love, Hope and You. That last, You, includes the audience in the journey of telling the story. Each one of the 27 songs in the Cabaret forwards the various themes. Each singer gets to shine in his/her own way.

Neema Bickersteth sings a glorious rendition of “Summertime” from Porgy and Bess. Vanessa Sears is world weary and hilarious singing “the Oldest Profession, from The Life. Robert Markus sings an impassioned version of “Change Don’t Come Easy, from Memphis about changing intolerant ways of thinking. Marcus Nance shows his comedic chops when he sings “Big Black Man” from The Full Monty when the only Black character in the show perceptively tells of his powers with women, and he does it with ease. When the quartet melds in such songs as “They Live In You” from The Lion King or “Wheels of a Dream” from Ragtime or “Why We Tell The Story” from Once on this Island their voices blend seamlessly, the result is soul-stirring.

As I said, it was a terrific adventure because ‘Mother Nature’ got involved. Neema Bickersteth was singing “Dat’s Love” from Carmen Jones—a modern version of Bizet’s opera, Carmen. I saw in the distance, a dark ‘wall’ quickly rolling towards the canopy. And then the rain clouds opened and sent a torrent of rain pelting down on the canopy so forceful and violent it sounded like the end of the world. The pelting reminded me of the ‘old’ Tom Patterson Theatre with its uninsulated roof and the banging of the rain.

That torrent on the canopy canvas could not overpower Neema Bickersteth’s singing. She stared down ‘Mother Nature’ and smiled and kept on singing, the sound rising up to meet the rain. Fearless. Nobody moved while they listened to her intently. A glorious adventure.

Why We Tell The Story: A Celebration of Black Musical Theatre plays at the Stratford Festival, under a canopy at the Festival Theater until July 21.

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Tuesday, July 13, 2021 7:00 for two weeks.

The Stratford Festival in Stratford, Ont. is OPENING! with a group of Cabarets: LIVE AND IN PERSON, under a Canopy.

Why We Tell the Story: A Celebration of Black Musical Theatre.

Curated and directed by Marcus Nance, with music director, Franklin Brasz.

Featuring: Marcus Nance, Robert Markus and Vanessa Sears.

Wednesday, July 14-25.

The Hamilton Fringe.

Lots of digital offerings. Eclectic, challenging, entertaining.

Friday, July 16, 2021. 7:00 pm

A digital reading of

Innocence Lost by Beverley Cooper

About the Steven Truscott case. Stunning play.

Done by the young company of 4th Line Theatre Company

Sunday, July 18, 2021, 3:00 pm for two weeks.

Continuing at Stratford, as part of the Stratford Festival Cabaret Series:

You Can’t Stop The Beat: The Enduring Power of Musical Theatre.

Curated and directed by Thom Allison, musical director, Laura Burton.

Featuring: Alana Hibbert, Gabrielle Jones, Evangelia Kambites and Mark Uhre.


Performed live and in person at the Here for Now Theatre, New Works Festival, Stratford, Ont. on the back lawn of the Bruce Hotel, under a lovely canopy.

Written and performed by Roy Lewis

Music composed and played by Ben Bolt-Martin

Roy Lewis is an accomplished actor in his own right and has acted for many seasons at the Stratford Festival and around the country. Gifted, accomplished poet is now added to the list. Last year he presented his piece, I See The Crimson Wave about Nat Love, a cowboy who love haiku. This year we have Moments with You.

Because this was the first performance of this reading of Roy Lewis’ Moments with You, I will comment rather than review (because comment was welcome).

This is the published description of the show: “Moments with You is a modern Psalm; a dialogue offered in two voices chronicling the death of love, the ensuing struggle to understanding, and the peace found in grace and redemption. A poetic journey across the landscape of the heart written and performed by Roy Lewis with cellist Ben Bolt-Martin.”

In prose and poetry Roy Lewis tells the story of falling in love with Katarina known as ‘K’ and she with him and how quickly that changed. There are references to other lovers for context—Romeo and Juliet, Odysseus, Persephone, Don Juan. But it’s Roy Lewis’ words about his relationship, his love, that is so vivid to the listener.

His description of the love affair with ‘K’ initially is sensuous, sensual, and intoxicating. One gets the sense of the headiness of it all because of Lewis’ description. One almost gets the sense of being an intruding voyeur the words are so personal, but we can’t turn away (“I loved the turn of her leg and she loved my rough beard on her thigh”).  We are compelled to listen. The words are complex; the perception of what is happening is almost like dissecting a living thing, without destroying it. Rather we get a closer, keener look at how the relationship happened, formed, was shaped and eventually fell apart. Lewis’ sense of awareness and perception and his mastery of language makes this relationship and his descriptions of it so compelling.

And there is this description of the man: “And if I asked you to look at my face, would you see the dark eyes, the proud forehead, the nose with its flared nostrils, the dark cocoa of the flesh.”

The sentence is so simple and so vivid in noting that Roy Lewis is a Black man. Not to acknowledge it leaves out a vital component of who he is.

And then there is Roy Lewis’ voice. The words are delivered in a bright, deep baritone, each word crisp, precise, a gem of clarity. He is microphoned, not because he needs it, but because it offers a balance with Ben Bolt-Martin’s cello (which thankfully is not microphoned).  Bolt-Martin’s music is at once lush and often jazzy when the relationship is flourishing and discordant when it’s not. The music and the words serve each other perfectly.

I do have a bit of a quibble. Towards the end of the piece Lewis introduces stories of his parents, their relationship and his observing of them. I found that reference to their relationship—long lasting to be sure—to seem an add on from the main relationship with Lewis and “K”. Perhaps if the reference to his parents and their love could be woven into the narrative at an earlier part in the story, it would seem seamless and not disjointed. I can appreciate this adds context, it’s just that it seems tangential to the main story.  

Roy Lewis is on the stage as the audience files in as is Ben Bolt-Martin who is playing quietly. Lewis is affable and greets everybody. At about fifteen minutes to curtain time, Bolt-Martin plays a few chords of the Stratford Festival fanfare. It’s impish, funny, sweet, and so moving because we are reminded of how much we have missed that ritual, even if it is ‘the other’ festival in Stratford at the moment.  

Moment with You is based on his published book (2011), With You The Moments Of My Life Are Fading which is composed of the poems and stories of the relationship. (and for sale if one want to buy a copy).

I found Moments with You wonderfully poetic, linguistically intoxicating, telling a deeply moving emotional story. Roy Lewis does not let you sit back and relax and let the story wash over you. Rather he makes you sit forward, alert, anticipating the next vivid description, story and poem. Good theatre does that.  

Moments with You plays until August 1.


The Ghost Watchers is an Augmented Reality Theatrical Experience blending live theatre and augmented reality.

Written by: Mary Barnes

Rochelle Reynolds

Emily Adams

Rhiannon Hoover

Trudee Romanek

Based on a concept by Michael Whyte

Directed by Iain Moggach

Composer, Josh Doerksen

Video Editor, Michael Whyte

Videography, Greg McFadden

Costume and props designer, Brenda Thompson

Cast: James Dallas Smith

Candy Pryce

David Evans

Alinka Angelova

Sarah Warren

Breanne Tice

Heather Dennis

Tour Guides: Sabrina Merks as Travy

Alyssa Bartholomew as Susan McDonald.

Iain Moggach is the whip-smart, creative artistic director of Theatre by the Bay in Barrie, Ont. I have found his productions inventive, unusual but still embracing theatre. If anything he strives to attract an audience that might not necessarily go to the theatre.

The Ghost Watchers, his latest show, is a case in point. Audiences are invited to gather at a certain point by Barrie’s Bay, bringing their cell phones, a good data plan with internet connection, ear phones and lots of curiosity. Initially it looks like a tour celebrating 150 years of Barrie’s establishment as a town. But Susan McDonald, the City of Barrie Historian, is interrupted by Tracy, who is on the trail of paranormal activity along the route. Tracy is a ghost ‘hunter’. Tracy wears a ghost-attracting hat and carries a ‘wand’ (that looks like a kitchen utensil—kudos to Brenda Thompson for the Costumes and props), that reacts when a ghost is near.  Together Susan and Tracy lead the group around various notable spots in Barrie’s downtown and along the way the group is ‘introduced’ to seven ghosts, each with their own story.

Through the wonderful state of the art “Spectrovision” that is made available to our cell phones we are able to ‘conjure’ up the seven ghosts individually on our screens. To a techno-nerd like me, this was quite impressive. Truth to tell, I had difficulty getting ‘connected’ so the always helpful Iain Moggach took the tour with me to see that I remained connected. He is the Artistic Director of Theatre By the Bay, the director of The Ghost Watchers and offers technical help to the tech-challenged. A multi-tasker to be sure.  

The ghosts, all with their own level of unrest and lack of peace, are a cross-section of cultures, ethnicities, ages and gender. These include ‘Hector’ an indigenous man who is trapped in his anger remembering what happened to him and his family all those years ago at the beginning of Barrie’s history. There is a young girl with a love of fire with terrible consequences. There is a lonely man named Thomas Baggs who has spent his whole life without friends, it seems, but with one exception. The stories are usually associated with areas of interest we see along the tour.

While all the stories are poignant in their own way the last scene, in Memorial Square, was the most moving to me. Our screens captured all the ghosts we had met along the way. But in the background was the memorial to the young people from Barrie who died during the war, with a statue to the unknown soldier in the middle. And behind that were the flags of the country at half-mast to commemorate the dead children from residential schools whose remains have been discovered over the last several weeks. Devastating.

The Ghost Watchers is a fascinating endeavor that is part history, part technological wizardry, and totally entertaining and moving. It’s a terrific way of easing into theatre going using the digital tools that are second nature to many in the population. It’s a good walk of 90 minutes and both Alyssa Bartholomew as Susan McDonald and Sabrina Merks as Tracy are wonderful, enthusiastic guides.

The Ghost Watchers plays in Barrie until August 28, 2021.


The live audio broadcast.

Written and performed by Katherine Cullen and Britta Johnson
Original music by Britta Johnson
Original lyrics by Britta Johnson and Katherine Cullen
Directed by Aaron Willis
Set and costumes by Anahita Dehbonehie
Lighting by Jennifer Lennon

Stupidhead! is a musical comedy about dyslexia. It has wonderful music, clever lyrics and two beguiling performances by Katherine Cullen, who tells her story and Britta Johnson who beautifully supports her at the piano and in many other ways.

Background. Stupidhead! has had many iterations since it debuted in 2014 at VideoFag. I saw it live in 2017. Now the always resourceful theatre company, Outside the March is bringing it back first as a live audio broadcast and later this summer in a live in person production perfect for a private porch or back yard. The script has been tweaked for this latest iteration to reflect the changes in our world and in the lives of the creators.  

The Story. Actress-playwright-theatremaker Katherine Cullen has always had a dream of being in a musical. By her own admission two things might have stood in her way towards realizing this dream: lack of training and ability. These are mere triflings when you consider the sheer force of nature, personality and determination that is Katherine Cullen. Added to this determination is that Cullen has been painfully aware she is dyslexic since grade three when insensitive teachers and ‘friends’ have indicated she was different because of it. Naturally Cullen considers her dyslexia a perfect subject for a musical.

Katherine Cullen takes us through her angst-ridden journey of coping with dyslexia. Hers is unusual because her reading is not that affected. She has difficulty with maths and spatial situations. She has no sense of direction. Finding the bathroom in public school posed a dilemma which she thought about and solved in her own way. Her best friend Dannie (sp?) lived next door when she was a kid, but Cullen often lost her way home from Dannie’s because she, Cullen was not sure to turn left or right to go home. There is the fear of making mistakes and being wrong. There is also the Cullen quirky sense of humour and determination that helps her cope when matters go off the rails.

The Performance. It is so interesting to hear this production as a live audio broadcast rather than seeing it in a theatre. What is so vivid about this production is the pure joy that comes across from Katherine Cullen and her creative partner, Britta Johnson. They riff off each other. They are constantly laughing at each other’s jokes. I remember during the live production that Britta was always smiling. This version takes that joy to another level (That will also be the last time I compare previous productions of Stupidhead! because it’s not helpful to the reader hearing the show now).

Katherine Cullen’s performance is also fearless She is not afraid or tentative to sing the songs full throttle just because she does not have the ‘ability’ to sing them. This is her life, damnit, and she is going to present every note with total commitment.   Her performance is beguiling as well as compelling. While Cullen has dark memories of dealing with her disappointments because of dyslexia she tells her story in a funny, irreverent, whimsical way. Britta Johnson not only accompanies Cullen beautifully on the piano, but you know she supports her in other ways, emotional, psychological, intuitively.  Both artists wrote the lyrics and Britta Johnson also wrote the music. The songs detail difficulties for Cullen, disappointments, triumphs and inspirational advice (“Don’t Give Up). The lyrics are wonderfully clever. As when I first saw this show in the theatre, I wish there was a song list. (just a quibble).

Director Aaron Willis directs Cullen with a smart sense of when stillness is effective and when wildness is better.  We can’t see how Cullen fills the space but we can hear her and imagine the rest.

Comment. While Stupidhead! is a musical about dyslexia, it does not define Katherine Cullen. After listening to this live audio broadcast it’s clear Cullen is gifted, impish, funny, irreverent, confident, successful, composed, joyful and a thousand other things more important that a diagnosis of dyslexia. Stupidhead she is not. The show continues to be wonderful.

Stupidhead! is available by live audio broadcast until July 16, 2021


Live and in person under a canopy on the back lawn of the Bruce Hotel, in Stratford, Ont.

Bravo to Fiona Mongillo for getting us back to the theatre. She is the Artistic Director of the Here for Now Theatre Company and has curated the 2021 New Works Festival, composed of ten original works written, created and performed by artists from Stratford, Ontario.

For the second year in a row the festival will be performed on the back lawn of the Bruce Hotel, this time under a beautiful open-air canopy. All seats are properly distanced for safety; strict health protocols are followed and everybody arrives wearing a mask (Although we can take them off in the tent.

Ms Mongillo bounded onto the stage, smiling, said “Hello” and we were hers. What a thrilling, moving experience it was to be with a like-minded group of people applauding a resourceful young woman, who won’t let a pandemic stop her from creating theatre.

She said that the recurring theme of the 10 plays was ‘togetherness’; how the characters (and I would believe those watching the plays) crave to be together, connected. After seeing the first two plays, she could also say that “tenacious” is a theme.  H\

The Tracks

Written by Mark Weatherley

Music and Lyrics by Kale Penny

Directed by Monique Lund

Cast: Lauren Bowler

Kale Penny.

The Tracks is billed as a musical comedy. The blurb on the show explains it this way: “worlds collide when a street corner busker encounters a classical violinist who finds herself at a crossroads.”

The Story and comment. There was no formal program so I’m not sure of the character’s names so I’ll use the actor’s name. Kale is the busker and provides the songs and his own guitar accompaniment. He sits on one of the two buckets on stage as a seat.  As he’s playing we see in the distance a smartly-dressed woman coming down the path, cross the grass into the canopy and cross the stage and look up stage into the distance. This is Lauren. She has an appointment for a job interview in one of the bank buildings in the area (the financial district of this city).

She sees Kale there and tosses a coin into his open guitar case. (there is a lovely bit of business when he puts on a rubber glove, snapping the latex, picks up the coin and sprays it with disinfectant). Kale informs Lauren that those bank buildings are closed because of the pandemic—the only time the pandemic will really be referenced.

They strike up a conversation with Lauren being prickly and Kale replying but not as pointedly. She notes that he is playing to a disserted corner. He says that this is his space, his ‘pitch’ and playing his music is what he does about eight hours a day.

Lauren is applying for an entrance level job—and really has an interview but she’s early. She hopes to be hired if only to serve coffee so that she can take the securities course and exams and then make lots of money. She is/was a classical musician, playing the violin in an orchestra. She had a dream of being the first violin of the orchestra and practiced and worked for that dream but something got in the way and she left music to try and make money.  Kale senses something else at play here and the conversation turns decidedly philosophical.

While The Tracks is described as a musical comedy the play is deeper, more thoughtful than that. The Tracksis a love-letter to creating art, music, following your dreams and not giving up. While the pandemic is referred to slightly, I think the play is about not giving up on your art when the world has shut down or when the audience seems to disappear as it has for Kale.

With Lauren she thought so deeply about one part of her playing that she lost the larger picture and was ready to quit because of it.  Mark Weatherley’s play beautifully captures the worlds of these two musicians. With Kale his words to Lauren are funny and impish but they are also reflective and philosophical of a man who is alone with his music and thoughts for the whole day. He has had time to ponder what is important and singing his words and music are uppermost.  He has that pitch and regardless of an audience he will be there creating and ‘sharing’ his music. With Lauren, Weatherley creates a classical musician who plays a violin worth a fortune, that is itself a work of art. She delves deeply into the music and how to create and interpret it. Both are different characters of course and their difference is vividly created in this play. But their love of music connects them.

The Production and comment.  The production beautifully realizes the depth of the play and these characters. It’s about needing a connection as Lauren and Kale make their connection with banter and music. At times she joins him in his music and is as invested in the songs as he is. Her blazer is unbuttoned and she experiences a freedom through his songs, thanks to Monique Lund’s thoughtful, detailed direction. And of course it’s funny—that wonderful business at the beginning with Kale snapping on the latex glove to disinfect that coin then tossing it back into his case is priceless.

The play is performed with great chemistry by Kale Penny as Kale and Lauren Bowler as Lauren. The banter is easy and natural. His singing is soul-stirring. His lyrics are smart. She gradually eases from being buttoned up and formal to free and relaxed because of the music and the company.

To add another note of togetherness: Monique Lund and Mark Weatherley are married to each other. And Kale Penny and Lauren Bowler are married to each other.

The Tracks is a terrific way to begin the New Works Festival and get people back together to watch it in person.


Written and directed by Steve Ross

Cast: Laura Condlln

John Dolan.

The Story and comment. Steve Ross a terrific actor in his own right and now he can add writer and director to that list. goldfish is the story of Walter and Shannon.  Walter is an irascible senior citizen with a hazy memory. He lives with his daughter and spends his day sitting in a chair, watching the world from the porch. Shannon has just moved across the street with her husband and two young boys. She runs a daycare and meets Walter when a beachball accidentally flies across the street and hits him in the head.  He’s not hurt by this starts their friendship, except she has to remind him every time that her name is Shannon and he keeps introducing himself to her as well, forgetting he has done it every day they see each other.

Over the course of a year, she learns about Walter’s late wife, his temper, his love of corny jokes and that he’s a true friend. We learn that Shannon is a harried, caring mother who is sensitive to her children and their needs—one of her boys wants to wear a princess dress and Shannon is ready to let him while her husband is more rigid. We also learn that her marriage is in trouble and what kind of a considerate, thoughtful woman she is. These are two characters navigating difficult waters as they try to muddle through with their lives and lean on each other to do it forming an unlikely friendship.

Steve Ross has written a sweet and heart-squeezing play. He deals sensitively with dementia, loneliness, gender issues, relationships, friendships when you least expect it and generosity of spirit.  I loved the kindness of Shannon in dealing with Walter’s hazy memory and dealing with his groaner jokes.  And while Walter is dealing with a world that is closing down, he is able to see her need for a friend who will listen.

Laura Condlln as Shannon and John Dolan as Walter are wonderful. The dialogue is easy banter of people who are actually listening to each other. Condlln plays Shannon as an outwardly buoyant person, watchful of her children and those in the daycare, sensitive to the changing world of gender and identity. Shannon giving instructions to the kids playing across the street are vivid. Condlln also conveys Shannon’s loneliness, loss, confusion and she digs deep to cope with it all. She finds solace in her friendship with Walter. John Doyle as Walter is a mix of charm and irascible. He loves telling a good joke as long as he’s not interrupted and if he is his temper comes in. Walter soldiers on but we sense there are demons that have haunted him and that comes out naturally in the play.

I also thought Steve Ross does a lovely job directing his own play. He  knows the value of a pause, silence, a knowing look or the touch of a hand without being cloying and sentimental. There are a lot of scene changes that are accomplished with each character taking a prop of a jacket, or a ball or a CD out of a box—all done with efficiency and clarity.

goldfish is such an engaging play and compelling production that I was not too distracted by the bunny rabbit that appeared in the distance, hopping across the lawn.

Loved both The Tracksand goldfish (and the bunny).

The Tracks and goldfishplay at the Here for Now Theatre Company’s New Works Festival in Stratford, Ont. until July 25.


Tuesday, July 6, 2021.

The wonderful HERE FOR NOW Theatre begins in Stratford, Ontario, on the back lawn of the Bruce Hotel under their spiffy marquis. Live, in-person with other theatre lovers present!

The plays are:

Here For Now Theatre



A Note from the Artistic Director

Past Productions | 2020

Board of Directors


The Tracks


Moments with You (Reading Series)

Janet and Louise

Post Alice

Pegeen and the Pilgrim (Reading Series)

So, how’s it been?

The Wonder of it All

In Search of Catharsis (Reading Series)

Kroehler Girls


The 2021 New Works Festival

Here For Now Theatre Company is thrilled to announce our 2021 New Works Festival comprised entirely of world premiere productions. Local artists are coming together to create a season that will include ten shows with small, socially distanced audiences, under an open-air canopy at the Bruce Hotel.

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The Tracks

“It’s hard to move forward when you keep lookin’ back.” In the premiere of this witty musical featuring the original songs of singer / songwriter Kale Penny, worlds collide when a street corner busker encounters a classical violinist who finds herself at a crossroads.

Book by Mark Weatherley with music and lyrics by Kale Penny. Directed by Monique Lund, starring Kale Penny and Lauren Bowler.

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Walter Norman is a retiree living a quiet life in a small town. Not much happens in his day; he’s content to sit in his chair on the front porch and watch the world go by. Enter Shannon. A busy mother of two who moves in across the street and opens a daycare. An unlikely friendship develops between these two and soon their visits become a daily ritual. Join Walter and Shannon as they sit and talk about everything from life to love to death to egg rolls. If only he could remember her name. Or what happened the day before. A year in the life of two lonely people who didn’t know how much they needed each other. Until they did.

Written and directed by Steve Ross, starring Laura Condlln and John Dolan.

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Moments with You

(Reading Series)

Moments with You is a modern Psalm; a dialogue offered in two voices chronicling the death of love, the ensuing struggle for understanding, and the peace found in grace and redemption. A poetic journey across the landscape of the heart written and performed by Roy Lewis with cellist Ben Bolt-Martin.

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Janet and Louise

Janet is determined to get over her mysterious ailments and keep her custodial job, so she’s agreed to take doctor-prescribed art lessons. Louise’s art studio is floundering; there is endless roadwork outside and her prickly personality chases people away. Janet arrives but thinks she might quit. Louise can’t afford to lose another student. Then Janet finds a man’s tooth inside a jar. . . At turns funny and heartbreaking, this new play asks what happens when two strangers confront what they’ve tried so hard to keep hidden.

Written by Deanna Kruger and directed by Jeannette Lambermont-Morey. Starring Brigit Wilson and Peggy Coffey.

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Post Alice

Inspired by four haunting characters from four iconic Alice Munro stories, Post Alice is a stunning new contemporary play which asks the question: what really happened to Mistie Murray? And what happens to all our missing girls? Come sit around the fire with four bright and hilarious Huron County women as ghost stories emerge, songs fill the air, family secrets are revealed, and mysteries unravel into those wonderful contradictions which live inside us all.

Written by Taylor Marie Graham and directed by Fiona Mongillo.

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Pegeen and the Pilgrim

(Reading Series)

Sponsored by Loreena McKennitt

Tickets to this free event will become available July 30th and must be booked online.

Twelve-year-old Pegeen O’Hara lives in the quiet town of Stratford, Ontario. She helps her mother run a boarding house after the death of her father and they are putting her brother Kerry through university. There just never seems to be enough time or money, and Pegeen’s dreams of becoming an actress seem hopeless. Then an extraordinary thing happens – a Shakespearean festival is planned for Stratford. As the festival develops, so does Pegeen. She learns a great deal about Shakespeare, the boarders at home, and she develops a new circle of friends, including a mysterious pilgrim. Adapted for stage by Brigit Wilson from the beloved novel by Lyn Cook.

Written and directed by Brigit Wilson with assistant director Stacy Smith.

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So, how’s it been?

Songs and Stories from our town

In the summer of 2020, theatre artist and Stratford resident Liza Balkan first began interviewing people who live and work in this town, asking after how they were doing through the fulsome and challenging  initial months of the pandemic. She met withbusiness owners, employees, artists, nurses, retirees, actors, parents, kids, farmers… The months became a year and the interviews continued. So many stories.

So, how’s it been? is a song cycle co-created by writer / director Balkan and composer / musical director Paul Shilton, inspired by – and using – the words from these recorded conversations. The songs and poetry are moving, surprising, funny, harsh, wild, curious, and empowering. And true. With music composed by Paul Shilton plus an additional song or two by Katherine Wheatley, Bruce Horak, and others, join extraordinary performers Marcus Nance, Barb Fulton, Trevor Patt, and Evangelia Kambites as they share a reflection of this highly particular time in this highly particular town. It’s a concert. It’s a conversation. How’s it been for you?

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The Wonder of it All

If marriage is the right to annoy one special person for the rest of your life, then Charmaine and Kingsley have the perfect marriage. That is until a surprise from their past meddles with the certainty of their future. But after 25 years is it too late for them to discover the redemptive power of love?

Written by Mark Weatherly and directed by Seana McKenna. Starring Monique Lund and Mark Weatherley.

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In Search of Catharsis

(Reading Series)

Wouldn’t it be nice if life came with a manual? This ‘making sense of living’ thing is hard, no matter who you are. Join our protagonist as she candidly wrestles with the grand improvisation of being human. It has something to do with a ferret. And space. And being in love.  

Written and performed by Jessica B. Hill and directed by Rodrigo Beilfuss.

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Kroehler Girls

It’s the bottom of the inning, a full count with two down. The Kroehler Girls socked two hits and their heavy hitter is a star with the willow, is it enough to bring the title home? 

Furniture and Softball. It’s the early 1950’s and Stratford’s all girls softball team is known for building furniture by day and dominating the ball diamond by night. Can the Kroehler Girls live up to their reputation after a devastating loss the previous season? Times are changing at a breakneck speed in these post-war days and this team, along with their hometown, have to prove they have what it takes. 

A new comedy that celebrates all that is Stratford in the early 50’s: the remarkable furniture company and their legendary softball team.

“We’ll sing you the song of our ball team, it’s the finest team in all the land.
We’ll tell you about all the players and we’ll tell you the truth if we can.” 

Co-created and performed by Kelly McIntosh, Stacy Smith and Andy Pogson with co-creator and director Severn Thompson, assisted by associate director Keira Loughran.

Learn More

Wednesday, July 7, 2021 2:30 pm (Toronto time)

From the Old Vic


THE DUMB WAITER by Harold Pinter




The Dumb Waiter in camera - lead artwork

TICKETS: PWC £10 TICKETS, £20, £30, £40

Running time: approx. 50 minutes

All performance times are British Summer Time (BST). These performances are live streamed using Zoom.


Suitable for ages 12+

All live streamed performances will be captioned and audio described.



The Dumb Waiter will be live streamed as part of our OLD VIC: IN CAMERA series – you will be watching from home if you book a ticket for this production.


‘We send him up all we’ve got and he’s not satisfied. No, honest, it’s enough to make the cat laugh.’

Ben and Gus are seasoned hitmen awaiting details of their next target in the basement of a supposedly abandoned cafe. When the dumbwaiter begins sending them mysterious food orders, the killers’ waiting game starts to unravel.

Daniel Mays and David Thewlis star in Harold Pinter’s darkly funny, insidiously menacing The Dumb Waiter for the sixth production in our globally live streamed series, OLD VIC: IN CAMERA.

OLD VIC: IN CAMERA performances are streamed live from the iconic Old Vic stage with the empty auditorium as a backdrop.


The Old Vic: In Camera series is made possible thanks to the unwavering support of Royal Bank of Canada as The Old Vic’s visionary Principal Partner. Since the beginning of Matthew Warchus’ tenure in 2015, RBC has sponsored over 30 main stage productions and now, in the face of such challenging times, RBC continues to stand alongside us and support our theatre and our audiences by enabling the delivery of this series. And, thanks to PwC’s steadfast generosity through this crisis, we’re delighted to be able to make this artistic initiative widely accessible with a number of PwC £10 Tickets offered across all performances.

Royal Bank of Canada – Principal Partner

PwC – PwC £10 Previews Partner

The Public Fund – Productions Partner

Garfield Weston Foundation – Reopening Partner

The Huo Family Foundation – Reopening Partner


Wednesday, July 7, 2021 8:00 pm

Audio version of


  STUPIDHEAD! to hit Airwaves, Porches and Backyards in July!   A white cis woman with blond, shaggy hair, wearing an enormous hot pink brain costume. She is sitting in a chair and trying to sit a latte, but can’t quite reach it with her mouth because of the big brain costume. Also, there are two GIFs laid on top of the image, of a girl in heart-shaped glasses banging her hands on an electronic keyboard.   ANNOUNCING THE RETURN OF STUPIDHEAD!, the hit musical comedy about dyslexia, failure and friendship.

Reimagined by Creators Katherine Cullen and Britta Johnson, Director Aaron Willis and Production Designer Anahita Dehbonehie for our current moment.  Gather your household ‘round the wifi router for
a limited number of live “radio” broadcasts. Or book your very own intimate IRL serenade for your family and friends to enjoy on a porch or backyard.

With musical gems like “Dobermans and Nutella”, “Is This Where the Puppet People Get Picked Up” and “What If I Never Find My Way”, we guarantee that you won’t be able to get this show out of your (stupid)head.  CLICK HERE to listen to an audio-only version of this announcement from Katherine Cullen herself.    “…riotously funny, musically charming, and emotionally resonant… a perfect blend of humour, heart, and soul. – Kingston Theatre Reviews  

BOOK NOW     A white cis woman with blond, shaggy hair, wearing an enormous hot pink brain costume. She is sitting in a chair and trying to eat a muffin and sip a latte, but can't quite reach it with her mouth because of the big brain costume.   There are Two Different Ways to Experience STUPIDHEAD! Live      1. Live Digital Radio Broadcast
(July 7th – 16th)    “Modelled on your favourite radio variety shows from times of yore. It’ll be like we’re performing in your living rooms… but we won’t be, because we respect your health and wellbeing, and also we’d get fined by the Ontario Government.”  – Katherine Cullen   All you need is a wifi signal, a feel-good beverage and your favourite emotional support stuffed animal to tune in to this run of six “live-to-air” audio performances.    Limited Capacity for Each Live Broadcast Tickets: $15   BOOK NOW     2. “At Your Place” Performances
(July 19th – Aug 1st)      “Stupidhead is all about not being alone. With that in mind, we’re hoping that small groups of families, friends and neighbours will book these intimate outdoor performances together.” – Mitchell Cushman, OtM Artistic Director     STUPIDHEAD! will also play a select run of a dozen in-person performances – available for booking on decks, porches and other private outdoor spaces across the GTA.

For Torontonians who are badly missing the presence of live theatre in their life, this is a chance to bring a show right to your very own front (or back) door!  

Outside the March will work with each group to ensure that each performance is conducted per provincial health and safety guidelines.

  Presentation Fee – $400 to book a private performance for friends n’ fam!
(100% of which goes directly to the artists working on the show)  
  TALK TO US ABOUT BOOKING     A white cis woman with blond, shaggy hair, wearing an enormous hot pink brain costume. She is sitting in a chair and trying to sit a latte, but can’t quite reach it with her mouth because of the big brain costume. Also, there is GIFs laid on top of the image, of a girl in heart-shaped glasses banging her hands on an electronic keyboard, and another GIF of a microphone with pink sparkles coming out of it..   OtM’s production of STUPIDHEAD! will also enjoy a two week run in Barrie, Ontario in August as part of Talk is Free Theatre’s “Bees in the Bush” Outdoor Theatre Festival.   

Wednesday, July 7—2021

Theatre By the Bay, in Barrie, Ont. opens its new season with The Ghost Watchers.

THEATRE BY THE BAY ANNOUNCES 2021 SEASON Barrie, ON. After taking the time to plan and regroup in 2020 due to the COVID-19 Pandemic, Theatre by the Bay (TBTB) is excited to deliver a safe and strong return to theatre, offering dynamic programming of four plays based on local stories.

The season will run from July until October 2021 and will include both in person and digital ways to engage with the works.

The Ghost Watchers. Summer, 2021. Presented in partnership with Tourism Barrie. Based on a concept by Michael Whyte. Written by Emily Adams, Mary Barnes, Rhiannon Hoover, Rochelle Reynolds, and Trudee Romanek. Join us on an Augmented Reality Walking Theatre Experience directed by Iain Moggach.  Follow a mysterious Ghost Hunter through downtown Barrie using state of the art ‘Spectrovision’ to discover the ghosts of Barrie’s past and find out what is keeping these spirits in our realm.

The Simcoe County Virtual Theatre Initiative Featuring the RBC Emerging Artists Program. August, 2021 (date TBD). The RBC Emerging Director Project provides two emerging directors from the Simcoe County community with the opportunity to receive unprecedented training in theatre directing, culminating in the creation and presentation of two new plays:

Juncture. Directed by RBC Emerging Director Alexandra Gaudet and written by Mary Harris, Juncture follows Christine, a widowed woman in 1930’s Barrie, Ontario. Christine recalls her life and how exactly she ended up in the arms of George Rogers, the man who derailed the life she once knew.

Two Girls, One Corpse. Directed by RBC Emerging Director Keara Voo, Two Girls, One Corpse is written by Michelle Blanchard and Marissa Caldwell. This goofy comedy-mystery follows two girls who attend the wedding of an ex-boyfriend, drink until they blackout, and wake up in their apartment with a dead body.

Mno Bimaadiziwin. Fall, 2021. Based around the experiences of a group of Indigenous people entering a sweat lodge, Mno Bimaadiziwin (meaning, ‘A good way of living’) is a story about the resiliency of love, healing, and of community in the face of trauma. Written by Ziigwen Mixemong and directed by Herbie Barnes. Mno Bimaadiziwin will be presented live at the Orillia Opera House as well as filmed for digital viewing.

Friday, July 9, 2021 7:00 pm

Live streamed the Young Company from 4th Line Theatre


4th Line Theatre and Trent University’s Traill College Announce 2021 Young Company 

From 4th Line Theatre’s 2018 production of Judith Thompson’s Who Killed Snow White?, directed by Kim Blackwell. Photo by Wayne Eardley, Brookside Studio. 

4th Line Theatre and Trent University’s Traill College are excited to announce the 2021 Young Company, a group of young, diverse regional artists and performers, who will work with industry professionals to produce livestream virtual play readings and performance pieces this summer. As part of its Emerging VOICES Youth Apprenticeship Program, rural community youth volunteers and apprentices have always played a major role in 4th Line Theatre’s iconic history. From the first play at the Winslow Farm in 1992 to last year’s Bedtime Stories & Other Horrifying Tales, young community actors have captured authentic voices within their plays, allowing the theatre to continue to create epic productions for the past three decades.

Managing Artistic Director Kim Blackwell explains, “This summer’s Young Company is a chance to fill the gap for regional young people with the theatre being unable to offer its normal artistic opportunities. We will be affording local youth the chance to work with some incredibly creative artists on skills development including acting, directing, playwriting, clown, music and puppetry. The Young Company, in partnership with Traill College, will be a unique training experience.”

In order to expand its youth apprenticeship training opportunities, 4th Line Theatre have partnered with Trent University’s Traill College to launch this exciting, new Young Company initiative. Young Company members will train with industry professionals Maja Ardal, Brad Brackenridge, Brianna Hill, Lisa Ryder, Patti Shaughnessy and Hilary Wear to bring scripts to life and create original work.

Dr. Michael Eamon, Principal of Catharine Parr Traill College and Director of Trent University’s Continuing Education states “Trent University’s Traill College and 4th Line Theatre have enjoyed a long and fruitful association supporting dramatic expression in the community. We are excited to offer a home for the activities of the Young Company and look forward to expanding our support with the construction of the Jalynn Bennett Amphitheatre next year. Both Trent University and 4th Line Theatre are committed to education, particularly of local youth. Situated in Peterborough’s downtown, Traill College offers the perfect spot for young actors to refine their craft. We hope that this partnership will strengthen the University’s unique bond with 4th Line Theatre as we share the value of expression, community engagement, and self-betterment through learning.”

 The 2021 Young Company is led by Young Company Coordinator Madison Sheward (Bedtime Stories & Other Horrifying Tales) and its members are: Mohamed Abi, Kate Bemrose, Zachary Chiagozie, Maude Rose Craig (Who Killed Snow White?), Molly Dunn, Mosunmola Fadare (The Other: A Strange Christmas Tale), Huseyin Halil, Laurin Isiekwena, Sahira Q, Emma Khaimovich (Bedtime Stories & Other Horrifying Tales), Aisling MacQuarrie (Carmel), Alison Mcelwan, Frances Milner, Aisha Fazilahmed and Ty Cohen.


Admission is free and all live stream events begin at 7:00 PM EST.  Register for each event via the Eventbrite links below and receive reminder emails prior to the livestream. The live stream events will be broadcasted on 4th Line Theatre’s YouTube channel at

July 9, 2021 at 7 PM

The Wolves by Sarah DeLappe

Directed by Lisa Ryder

In this contemporary slice-of-life play, The Wolves, a girls’ indoor soccer team, practice drills as they prepare for a succession of games. As they warm up and talk about life, the girls navigate the politics of their personal lives. Each team member struggles to negotiate her individuality while being a part of a group. The team seems as if it may disband after the sudden death of one of the girls, but they manage to come together. In the end, the surviving team players prepare to play yet another game together – closer, stronger, wiser, and fiercer.

Register to Attend