Stageworthy

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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