Looking for production listings? Check out the Vancouver Theatre Guide.
Following a staff gathering to unveil his 2017–2018 season of programming, Bill Millerd announced that the organization’s 54th season will be his final as Artistic Managing Director.
“I feel blessed to have served the Arts Club for 45 years,” says Millerd. “An incredible amount of growth has happened in our organization over these years, and I’m proud of each of our successes since our humble beginnings at the Seymour Street location. All three of our stages have been built or revived during my tenure, and our focus on premiering Canadian work and engaging new audiences remains a top priority. It’s the right time to welcome new artistic leadership to this thriving organization alongside Executive Director Peter Cathie White, who will provide continuity for our committed staff, board of directors, and artists.”
The search for an artistic director begins immediately. It will be led by Alexander Whitehead Executive Search in consultation with Cathie White and the Arts Club’s Board Chair Bruce Flexman.
Cathie White says, “Bill Millerd has been the heart of the Arts Club for 45 years, and I have enjoyed immensely the time that I have had the privilege of working with him. He stewarded this theatre company from being a 150-seat venue to what it is today—Canada’s largest not-for-profit urban theatre company. With year-round programming on three stages, an annual 3-show tour, and a wealth of community, education, training, and new-play development programs, the Arts Club is a vibrant company that contributes much to the culture of this community, and this country. Although I will miss working with Bill, I look forward to our continuing the work of this amazing company with a new artistic director.”
“Bill has contributed so much to Canadian culture during his tenure at the Arts Club,” adds Flexman, “Especially with over 20% of every production the Arts Club has staged in his 45 years with us being premieres of new Canadian plays or musicals. He leaves a company that is artistically innovative, financially sustainable, with a growing endowment. Looking to the future, Peter and I are keen to receive input from the community on the values and qualities they believe are important in an artistic director. To do so, we are soliciting feedback on our website that can inform the process of finding the candidate best suited to the needs of our organization and the communities we serve.”
Millerd’s final season reinforces the Arts Club’s commitment to new Canadian work, with three new Canadian plays: Thanks for Giving, by Governor General’s Award–winning playwright Kevin Loring; Forget About Tomorrow, by Jill Daum (Mom’s the Word); and Me and You by Melody Anderson. Two recent hit premieres will see encore productions: Mom’s the Word 3: Nest ½ Empty and Onegin, by Amiel Gladstone and Veda Hille. The Stanley Industrial Alliance Stage continues to stage Canadian premieres of recent Broadway hits (The Humans), popular musicals (Mamma Mia!, Disney’s Beauty and the Beast,), West End sensations (King Charles III), and North American epics like the hilarious Jitters by David French, and the gripping conclusion to Tony Kushner’s Angels in America, Part Two: Perestroika.
Read Bill Millerd’s retirement announcement at artsclub.com
Arts Club Theatre Company’s 2017–2018 Season
STANLEY INDUSTRIAL ALLIANCE STAGE
Angels in America, Part Two: Perestroika By Tony Kushner September 7–October 8, 2017
King Charles III By Mike Bartlett October 19–November 19, 2017
Disney’s Beauty and the Beast Music by Alan Menken, Lyrics by Howard Ashman and Tim Rice, Book by Linda Woolverton December 7, 2017–January 7, 2018
Jitters By David French January 25–February 25, 2018
The Humans By Stephen Karam March 22–April 22, 2018
Mamma Mia! Book by Catherine Johnson, Music and Lyrics by Björn Ulvaeus and Benny Anderson May 10– July 8, 2018
GRANVILLE ISLAND STAGE
Thanks for Giving* By Kevin Loring October 5–November 4, 2017
Onegin** Book, Music, and Lyrics by Amiel Gladstone and Veda Hille November 23–December 31, 2017
Fun Home Book and Lyrics by Lisa Kron February 8–March 10, 2018
Misery By William Goldman, based on the novel by Stephen King April 5–May 5, 2018
Once By Enda Walsh June 14–July 29, 2018
GOLDCORP STAGE AT THE BMO THEATRE CENTRE
The Day Before Christmas** By Stacey Kaser and Alison Kelly November 16–December 24, 2017
Topdog/Underdog By Susan-Lori Parks January 18–February 11, 2018
Forget About Tomorrow* By Jill Daum March 1–25, 2018
Me and You* By Melody Anderson April 12– May6, 2018
ON TOUR: BRITISH COLUMBIA
Mom’s the Word 3: Nest ½ Empty** By the Mom’s the Word Collective October 5–November 16, 2017
Misery By William Goldman, based on the novel by Stephen King January 4–February 8, 2018
Show #3 TBA
ON TOUR: WESTERN CANADA
Onegin** Book, Music, and Lyrics by Amiel Gladstone and Veda Hille Dates to be announced
Titles and performance dates subject to change.
**Second production of an Arts Club premiere
For more information: artsclub.com
ABOUT THE ARTS CLUB
The Arts Club Theatre Company, founded in 1964, is Canada’s largest not-for-profit urban theatre company. Led by Artistic Managing Director Bill Millerd and Executive Director Peter Cathie White, it offers professional theatre at three venues—the Stanley Industrial Alliance Stage, Granville Island Stage, and Goldcorp Stage at the BMO Theatre Centre—as well as on tour throughout the province.
This is skilled technical and supervisory work in coordinating the provision of a wide range of stage services for a variety of clients utilizing the Shadbolt Centre and/or its technical resources and personnel. The Production and Technical Services Coordinator advises clients on a variety of matters such as lighting, sound, set installation/removal, scheduling and operational procedures; oversees the provision of services by subordinates; is required to assist in the recruitment of, and direction of the work of subordinate staff engaged in technical duties; develops and recommends new or revised policies and procedures related to operational matters; prepares cost estimates for budgeting or repair purposes and arranges for the repair and maintenance of equipment used; maintains a variety of records and files and performs related work as required. The ideal candidate will have exceptional written and verbal communication skills and will exercise considerable independence of action and judgement, while policy matters are referred to and work performance is reviewed by a superior.
Completion of a diploma in a field related to the work plus considerable theatre stage management, technical direction and/or production management experience, or an equivalent combination of training and experience. The successful candidate must have a sound knowledge of the methods, practices, techniques, materials, tools and equipment used in the operation and administration of a Municipal theatre complex; policies, codes and regulations governing theatrical operations as well as hazards and safety precautions and technical stage requirements for a variety of productions. Ability to advise, assist and direct subordinates; develop and implement recommendations; plan, assign, direct and participate in the work of auxiliary staff; effectively deal with internal and external contacts; work irregular hours and meet deadlines under pressure. A Valid Driver's License for the Province of British Columbia.
SALARY RANGE: $4,531–4,718–4,914–5,116–5,333/month (Pay Grade 20)
STATUS: Regular Full Time
SCHEDULE: 70 hours bi-weekly
SPECIAL NOTES: Subject to note “T” of the Inside Collective Agreement.
Please submit your application online at burnaby.ca by 4:45 PM on Friday, February 24, 2017.
Copies of relevant professional certificates, degrees or tickets will be required at the time of the interview.
We thank all applicants for their interest, however, only those considered for an interview will be contacted.
For more information: Burnaby.ca/careers
FROM ART TO ACTION: Building Anti-Racist Solidarity and Allyship Skills for Artists & Arts Organizations
From Art to Action is a two-day Anti-Racism workshop for artists and arts organizations – March 4 and 5, 2017. Highlighting the ways People of Colour (POC) move through the world impacted by systemic and interpersonal racism, this workshop will provide context and skills for arts practitioners and administrators to practice empathetic and proactive allyship. Together, we will work to understand how dominant social power dynamics play out in artistic communities, and how we can work individually and together towards undoing these dynamics and fostering an arts culture where people of colour are reflected, represented and centred.
Why this workshop is needed for artists and arts communities:
In the last few years, the lack of representation for folks who are indigenous, black, and people of colour in our local and broader arts communities has been called to the front of the room innumerable times. Many of these conversations end stalled, with folks feeling like they don't know how to address the racial inequities in their workplaces, communities and arts practices.
Anti-racism work and undoing white supremacy is even more urgent in these devastating times for racialized communities; and this rise in white supremacist power has not come out of nowhere. As artists and arts organizers we are implicated, not separated, from the world around us. Our work must move beyond the languages of diversity and inclusion, to confront and address the impacts of our creative practices and the ways in which power and access operate inside/outside our organizations. As artists, we have an empowered responsibility to adjust and amplify our voices to push back against violence and oppression; not only for justice, but for the joy and challenge of creating and uplifting important, nuanced, complex stories.
This workshop is designed for:
· Professional Artists & Arts Organizations of all racial and ethnic identities and across all arts practices
· Artists and Arts Organizers aware of the inequities within their professions and organizations, and need support to address them
· Artists and Arts Organizations who want to participate in anti-racism training
· Artists and Arts Organizations who desire to create and support representative, challenging work and programming for diverse audiences
Where: Progress Lab, 1422 William St, Vancouver
When: 10am-4pm, Saturday, March 4 and Sunday, March 5, 2017
(Please note that this is a TWO-day workshop and participants are required to commit to both days)
Cost: $125-$175 sliding scale*
We are able to offer group discounts to smaller companies sending several members to participate. Please contact us if you would like to attend as a group.
*Sliding scale suggests that you pay according to what is affordable to you within the suggested range. Folks making a living wage are encouraged to pay the full amount. If cost is a barrier or you have further questions on how much you can or want to pay, please be in touch with the organizers.
How to Register: See THIS REGISTRATION FORM
We have space for up to 16 participants. Register early to guarantee your spot!
Accessibility Info: Check the website link below for full accessibility details.
About the facilitators:
Anoushka Ratnarajah is a mixed race (Tamil Sri Lankan and white) queer femme, and an artist and organizer. She was born and raised on unceded Coast Salish Territories (Tsawwassen Nation). As a mixed race person from settler/immigrant histories, Anoushka works from a place of unlearning and re-learning the complex histories that dictate the ways in which we move through the world. She believes in the power of storytelling as a way to heal and create new futures where we can breathe deep.
lee williams boudakian (uses they, them, theirs pronouns) is a queer, non-binary trans, Armenian-Liverpudlian mixie with familial ties to Lebanon, Syria, what is current-day southeastern Turkey, and Liverpool, England. Born in Scarborough General Hospital and having moved many times, lee currently works as an interdisciplinary artist, writer, producer and facilitator based in Vancouver, unceded Coast Salish territories. Current love projects include Kalik, ShapeShift Arts, and The HyePhen Mag. lee arrives at the work they do as acts of resistance, world&future visioning, and celebration towards liberation and healing.
Contact: If you have any questions, comments, or concerns please contact: firstname.lastname@example.org
More information: shapeshiftarts.com
Pacific Theatre offers a full-time professional apprenticeship program for emerging artists who are looking to build a bridge between academia and the professional marketplace. The Company Apprenticeship is composed of three primary, intersecting categories of activity:
Apprentices will also be charged with collectively producing several ‘second-stage’ projects of their choosing throughout the year. Past examples include one-act plays, 24 Hour theatre festivals, actor showcases, etc. Such projects provide excellent opportunities for aspiring directors, producers and playwrights, as well as actors.
As one can see, the company apprenticeship is designed to develop new graduates holistically, through a process of mentorship and hands-on experience, with the aim to equip such emerging artists in all of the different aspects of working in professional theatre. These ‘Renaissance Persons’ should exit the program with the marketable skills to succeed in any number of industry positions, and with a deep, thorough understanding of the aesthetics, philosophies and tasks involved in the creation of meaningful, viable and excellent theatre.
Apprenticeships generally span eleven months from August to June. A modest living stipend of $1,000/month is available.
Successful applicants will have read our “About Us” section, as well as looked at our past productions, to comment on what draws them to Pacific Theatre as a company.
Please note that due to Canadian Immigration Laws, we are only able to accept applicants who are already legally permitted to work in Canada.
Submissions should be made to Cara Cunningham at email@example.com, or by mail to:
Cara Cunningham – Operations Coordinator
1440 West 12th Avenue
-All relevant resumes (acting, production, general work experience, etc.)
-A letter of intent detailing reason for applying, why you want to work with Pacific Theatre, and what you hope to get out of an apprenticeship
Applications due by March 17, 2017.
The Pacific Theatre Apprenticeship Program is generously supported by the Y.P. Heung Foundation.
ABOUT PACIFIC THEATRE
Pacific Theatre aspires to delight, provoke and stimulate dialogue by producing theatre that rigorously explores the spiritual aspects of human experience. In over 30 seasons, Pacific Theatre has produced more than 120 professional mainstage productions ranging from established works to original world premieres featuring some of the top theatre artists from Vancouver and across the continent.
More information: pacifictheatre.org
A Chorus Line Playwright: music by Marvin Hamlisch, lyrics by Edward Kleban, book by James Kirkwood, Jr. and Nicholas Dante
Director: Ryan Mooney
Music Director: Arielle Ballance
Choreographer: Rachael Carlson
Audition date: February 18, 2017. If you cannot make this date but are interested in the show, please let us know.
Production dates: August 18 – September 2, 2017
Required: 18 triple threat performers aged 18+ to play all roles.
CAEA Members will be engaged under the Dance*Opera*Theatre Guest Artist Agreement.
Note: Please bring a song in the style of the show, and comfortable clothes to dance and move in. All performers will need to do a dance call at the initial audition.
Contact: Please email your headshot and resume to firstname.lastname@example.org
More information: fightingchanceproductions.ca
ABOUT FIGHTING CHANCE PRODUCTIONS
Fighting Chance Productions arrived on the Vancouver stages in January 2007. Founded by Artistic Director Ryan Mooney, Fighting Chance started as an opportunity for young theatre artists to present their skills on a stage where their age or experience did not limit them, but ultimately helped them gain on the job experience. Since that time Fighting Chance Productions has grown to be one of the leaders among young independent theatre companies in Vancouver. Fighting Chance Productions believes heavily in introducing rising performers to Lower Mainland audiences. Fighting Chance is committed to casting at least half our shows with new to the company performers – we believe it’s a way to not only keep things fresh for our audiences, but also to nurture talent in Vancouver and beyond.
Carousel Theatre Society (CTYP) invites applications for the position of Managing Director. This is a full-time salaried senior management position that reports directly to the society’s Board of Directors. Weekends and evenings will be required.
The Managing Director leads CTYP, in collaboration with the Artistic Director. The Managing Director supports and advances the artistic vision, strategic plan and the mission of CTYP, and is responsible for administrative operations and financial oversight. Start date will be May 15, 2017 or as mutually agreed.
Principal duties include:
• Securing the necessary finances and human resources to support operations and artistic programming;
• Management of operational staff (Education, Marketing, Development, Patron Services and all related contractors);
• Creation and management of annual and long term operating budgets, in consultation with the Artistic Director, and control and reporting on the current financial position of CTYP;
• Overseeing and/or executing the book-keeping for the society, including filing of all remittances;
• Preparation of principal operating grants for CTYP;
• Supervision and/or preparation of other corporate, foundation grants;
• Overseeing patron services, marketing and communications, fundraising and development, outreach, facility management, IT and systems;
• Representing CTYP at local, provincial and national community events and meetings;
• Working with the Board of Directors and the Artistic Director to advance CTYP as per the Strategic Plan, and to actively participate in the development and implementation of future plans;
• Assisting the Board of Directors through timely reports, attendance at meetings, creation of policies and procedures, filing charitable and society reports, and other assistance as required;
• All other management duties to ensure the ongoing operating objectives and success of CTYP
• Minimum five years of experience as an arts administrator, or equivalent
• Minimum two years of experience in a management role
• Previous grant writing & fundraising experience
• Proficiency in data analysis
• Strong written and verbal communication skills
• Ability to lead and inspire a team of people
• Passion for theatre for young audiences
• Previous experience in a senior management role
• Familiarity with Simply Accounting and/or Theatre Manager software
• Familiarity working with the Canadian Theatre Agreement
• Previous experience working with young people
Salary Range: $60,000 - $70,000 per annum (commensurate with experience), plus extended medical and dental benefits.
More information: carouseltheatre.ca
ABOUT CAROUSEL THEATRE FOR YOUNG PEOPLE
Carousel Theatre for Young People is an award-winning Theatre for Young Audiences organization located on Granville Island in Vancouver, BC. Each season more than 40, 000 young people and their families benefit from CTYP’s distinctive programming. Under the vision of Artistic Director Carole Higgins, CTYP’s robust activities include a Mainstage Season of Professional TYA (both productions and presentations), the BEE Stage for newborns to age three years, the Teen Shakespeare Program, and a year-round drama school for young people. The organization operates an arts complex on Granville Island that includes three rehearsal halls, a full costume shop and bustling administrative offices. CTYP’s Annual Operating Budget fluctuates between $925 000 to $1 050 000, depending upon seasonal artistic activity. CTYP has a full time operational staff of five team members, and a seasonal production staff.
Emerald Pig is holding auditions for their 12th season of Bard on the Bandstand. This year’s production is Twelfth Night. Auditions are in Maple Ridge February 16 and 18, 2017.
Twelfth Night, directed by Cathie Young, and assisted by Simon Challenger, will cap off the 12th season of Bard on the Bandstand. You’re invited to be part of this raucous bunch who are not going to let shipwreck, a brother's loss, gender, cross gartering or cross gendering, unrequited love, pirates or pesky puritans keep you from partying!
February 16, 7 - 9 pm and February 18, 10 am - 2 pm
Audition location: Planet Ice (Upstairs meeting room), 23588 105th Avenue, Maple Ridge
Come prepared with a short Shakespearean monologue. And sides will be posted soon at emeraldpig.ca.
Callbacks (by invitation) on February 25, 10 am - 2 pm at the Maple Ridge Leisure Centre.
Production dates: July 13-30, 2017
Orsino, the Duke and Count of Illyria, is a man deeply and fashionably in love with Olivia. Her rejection of him leaves him in a deep and just as fashionable melancholy.
Sebastian is Viola’s twin brother. After the shipwreck, he was rescued by Antonio, and spent three months in his company.
Antonio is a sea captain. Though considered a pirate by Illyrians, he considers himself an honorable opponent.
A Sea Captain was the captain of the ship that Viola and Sebastian were traveling on?
Valentine is one of Orsino’s attendants. He was sent to Olivia as a messenger of love, but was not allowed to speak to her.
Curio is one of Orsino’s attendants. He seeks to distract Orsino by taking him to hunt, but Orsino refuses.
Sir Toby Belch is Olivia’s uncle and something of a minor-league Falstaff. A penniless drunkard who sets stock by his nobility of birth, with a taste for pickled herrings that likely leave him flatulent, he makes himself quite at home at his niece’s.
Sir Andrew Aguecheek is an unfortunate fellow. He is tall and very thin, with pale hair that lies flat and lanky, though he may occasionally attempt to curl it.
Malvolio, whose name might be translated as ‘ill-will,’ is Olivia’s steward. Something of a puritan, he abhors disorder and drunkenness, along with bear-baiting and for that matter laughter: he does not smile.
Fabian is a member of Olivia’s household who has lost that lady’s favor due to Malvolio’s telling her about a bear-baiting Fabian was involved with.
Feste was Olivia’s father’s jester, and is now hers, though it appears that he wanders around a bit.
Olivia is an orphaned, gray-eyed countess who has sworn to remain in mourning for seven years after the recent death of her brother.
Viola is a lady of Messaline. When dressed as a man she is identical to her twin brother Sebastian.
Maria is Olivia’s waiting-gentlewoman. Though she begins by attempting to keep Sir Toby under control, she quickly becomes one of his cronies and the brains behind the plot against Malvolio.
The Priest is fetched by Olivia to marry her to her young man in secret.
The First Officer recognizes Antonio from the sea-fight, and arrests him.
The Second Officer does not actually know Antonio, but arrests him.
Olivia’s Servant is not part of the cabal of upper servants who mock Malvolio.
For more information: emeraldpig.ca
You’re invited to the Kw’eykw`áystway Industry Series* running February 16-20, 2017
Kw’eykw`áystway (pronounced kwāy kwai stwhy) means “speaking with one another”. It’s a five-day forum which invites arts presenters, artists, scholars, funders and audience members together to further the development and strength of Indigenous arts. Over five days this series builds upon previous Industry Series Events to fortify existing and create new networks for the support for Indigenous art-makers, artists and organizations across the country.
Session topics include: “Creating Work as a Guest on Territory“, “Organization to Organization Collaborations” and “Strategies for Developing the Indigenous Arts Sector”. Delegates are also invited to attend live performances, including: Moonlodge, Celebration of Powwow and the Ab-Original Cabaret.
Moonlodge was originally written by Artistic Director of the Talking Stick Festival, Margo Kane (Cree/Saulteaux), and is currently being produced by Urban Ink. In this piece, a girl who was removed from her home by Child Welfare government services hitchhikes across America, and discovers the authentic voice inside her that was silenced, but never lost.
Delegates receive a reduced rate ticket to attend Wax hoks en Shqalawin – Open Your Hearts Talking Stick Festival Gala at the Roundhouse Community Arts & Recreation Centre on February 16th.
One pass for Kw’eykw`áystway Talking Stick Industry Series is $100. This includes 5 days of all-access to conversations, performances and hospitality. Individual sessions are at suggested drop-in fee of $15.
Due to limited space, advance registration Is recommended.
Program descriptions and venues are available in this booklet.
Register online at fullcircle.ca
For more information, email email@example.com
Subsidies are available for those with financial restrictions.
Programming subject to change.
*Presented by Full Circle: First Nations Performance, in partnership with SFU Woodward’s Cultural Programs
Bard on the Beach Shakespeare Festival is accepting applications to attend their general auditions on March 27 and 29, 2017
Interested actors should forward the following:
- Current resume
- Current headshot
- Brief cover letter addressed to Christopher Gaze, Artistic Director
Submit by mail or in person to Bard’s Administration office:
(Office hours: 9am – 5pm, Monday – Friday) Address:
Bard on the Beach (Ref: General Auditions)
BMO Theatre Centre
201-162 West 1st Avenue
Vancouver, BC V5Y 0H6
Submissions must reach the Bard office by Tuesday, February 28 at 5pm.
NOTE: Submissions by fax or email will not be accepted.
Artists selected for a General audition will be contacted with an audition time and will need to prepare: - Two contrasting Shakespeare monologues (2 min. max each)
- A short verse (30 sec. max) of an unaccompanied melodic song to showcase your range
Established actors who would like to be considered for our 2018 Season: - Submit your current resume, headshot and a cover letter expressing your interest to the address above.
Bard on the Beach receives a large number of submissions each year, and as such is unable to offer audition times to all who apply. Principal criteria for inclusion in general auditions includes completion of classical theatre training and Shakespeare performance experience. Bard on the Beach welcomes and encourages submissions from artists of diverse backgrounds. Preference will be given to artists who have not had an audition in the last two years.
FOR MORE INFORMATION: Check out bardonthebeach.org
Or contact Rhea Shroff, Company & Education Manager at 604-737-0625 Ext. 222.
Ruby Slippers Theatre is thrilled to announce that Artistic Director Diane Brown is the 2016/17 recipient of The Bra D’Or Award. Diane was presented the prestigious award by playwright Carmen Aguirre at the opening night performance of You Will Remember Me at the Gateway Theatre. The Bra D’Or Award is presented annually to individuals who have supported the advancement of Canadian women playwrights.
The Womens’ Caucus of Playwrights Guild of Canada offered the following commendation on Diane’s award: “Over the last 26 years, Diane Brown has consistently championed works by women. As Artistic Director of Ruby Slippers Theatre, Diane has an extensive history of showcasing works by women in her regular programming. She also created and initiated both the Advance Theatre: New Works by Women five-day festival and the Femmes Fatales Series, where women perform their own work. Diane’s fundamental commitment to, and record of, producing outstanding plays created by women, makes her very worthy of this award.”
Diane Brown is a multi-award-winning director and actor and co-founder and Artistic Director of Ruby Slippers Theatre. She initiated Advance Theatre: New Works by Diverse Women in 2015 in response to the continued under-representation of women playwrights on Canadian stages. Diane is the Chair of Theatre Cares Vancouver, sits on the Theatre Advisory Committee for Langara College, and is involved with several social justice and environmental initiatives. A graduate of SFU, Diane is currently undertaking her master’s degree at UBC.
“I am so honoured to receive this award, as it is very meaningful to me,” says Diane. “For years I have been, like many others, working to redefine ‘normal’ on Canadian stages, to have gender equity and diversity issues be a thing of the past. In these frighteningly reactionary times it is more crucial now than ever to collectively commit ourselves to bringing diversity of all kinds to our stages, including, of course, women playwrights and their stories, which make up so little of our mainstage professional fare. Inclusivity is what makes theatre a humanizing and powerful force in our society.”
Advance Theatre: New Works by Diverse Women is presented in association with The Fringe Festival and Equity in Theatre. The third annual festival of staged readings of plays written and directed by women will take place September 11-15, during The Fringe Festival.
ABOUT RUBY SLIPPERS THEATRE
Multi-award winning Ruby Slippers Theatre creates, produces, and presents provocative text-based theatre from the vanguard of the English and French Canadian canon. We tell stories that illuminate diverse perspectives and social issues.
More information: rubyslippers.ca
Greater Vancouver Professional Theatre Alliance | Vancouver, BC, Canada | firstname.lastname@example.org