Before the festival, in spite of being in the midst of confirming our season, I had told Artistic Producer Indrit Kasapi and Associate Artistic Director April Leung, that we had to leave some ‘space’ – money and time in the theatre – in case, just on the off-chance, there was an absolutely outstanding production or artist from the student festival. They were a bit skeptical, as even I was for such a ready for stage work would present itself, but we are ever optimistic! And so, TPM was able to extend an invitation to Emily to present her play BUTCH/FEMME to launch TPM’s 2025-2026 Season. With that invitation, we also supported a short workshop for the script and brought veteran artist and creator Moynan King (previously co-creator and director of TRACE with Tristan R. Whiston) to offer advice and thoughts for a new generation.
I know from my own experience that taking chances and giving significant and meaningful opportunities to emerging artists is fundamental to the growth of the industry. In an environment where funding and attention-spans continue to regress, it is all the more critical.
In thinking back to my own path to where I am now, I am able to list many mentors and supporters who identified something within my work and took leaps of faith. The two that stand out are Kelly Thornton, formerly Artistic Director of Nightwood Theatre (now leading Royal Manitoba Theatre Centre), and Philip Akin, one of the co-founders and former Artistic Director of Obsidian Theatre.
Perhaps the story starts when I was working in radio drama with yet another incredible mentor and champion, the late, great Bill Lane. I had been commissioned to write a short radio drama but instead had handed him a 90 minute piece! He took it in stride, and handed the script back to me with his gruff smile. He had scribbled tons of notes with his loopy handwriting on my supposed 15 minute radio drama. He said, “That is going to be a very good play. Now go please write me a 15 minute drama.” I appreciated his notes and encouragement.
It gave me the nerve to submit the play to Nightwood Theatre, where Kelly Thornton accepted it for the Groundswell Festival which included development and a public reading. It was then, that Kelly offered further development and a full production the following year. And, I was to act in it as well. I was stunned.
Although I had written short dramas for the CBC, I had never written a full-length play before, and certainly never had a production of my work. In the end, that was my first play CHINA DOLL, which went on to be further acknowledged through nominations and publication. As well, Nightwood sharing a studio with Tapestry Opera, Kelly also recommended me for Tapestry’s librettist program, which led to indelibly shaping my writing and work.
