Stageworthy

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!