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Urban Tales #12

Feathers: 12 days of Xmas stories spun from a silly song

december 7 to 15, 2018.


Come share an eggnog with us at Centaur Theatre’s annual antidote to the excess of candy cane-coated, warm-and-fuzzy feelings typical of the holiday season. For five shows only, this seasonal tongue-in-cheek event features some of Montreal’s best actors telling stories - ranging from side-splittingly hilarious to downright bizarre. Accomplished playwright and actor, Harry Standjofski, directs and provides live music between each irreverent tale.


Centaur's Brave New Looks

The Tashme Project: The Living Project

november 15 to 24, 2018.


A one-act verbatim theatre piece that traces the history and common experience of the Nisei (or 2nd Generation Japanese Canadians) through childhood, WW2 internment and post-war resettlement east of the Rockies.  The Nisei, now in their 70’s and 80’s, were children at the time of internment and their stories of adventure and play are presented in sharp relief to the more common internment narratives of hardship and injustice.



Nov 7,  Intermission, Rhiannon Collett


Centaur Theatre Celebrates Fifty Years, and Beyond


I moved to Montreal when I was 18 years old and it was just as romantic as I imagined it would be. Fresh from a woodsy Vancouver suburb, I was overcome by my love for the city—a vibrant, diverse place where something big was always going on. Montreal incubates artists. How many times have you been to a party and heard the classic “maybe I should move to Montreal”? I’ll say it now, you probably should, but please make sure you have adequate winter wear.


I smoked clove cigarettes and scribbled frantically in notebooks, watched live circus in the park, and bummed around arts parties. I was dedicated to (what seemed like) the creative process, but here’s the thing—I hated theatre school. I hated being told what to do and how to create. As a writer, I also hated being boxed into theatrical styles that had to “make sense” or “follow a linear plot arc”. For me, writing came from deep urges that made no sense, and to add sense to that was to cut off dramatic limbs, to trim it down to something palatable. After a couple of terrible workshops, it became clear to me that I needed to seek training elsewhere.


Despite being a multilingual hub for international creativity, Montreal has very few major anglophone theatre institutions, so the ones they have are heavy hitters. I was fortunate to train with Black Theatre Workshop as part of the Artist Mentorship Program and at Playwrights’ Workshop Montreal as part of the Young Creators Unit. But where do larger institutions come into the picture with artists and their development?



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