Roundtable Discussion: Six Artists from Imago Theatre’s Her Side: Revision to Resist


The Quebec Drama Federation presents a roundtable discussion with six of the artists working on Imago Theatre’s upcoming play festival, Her Side of the Story: Revision to Resist.

The Participants:

  • Jen Viens, lead actor in What Happened After Nora Left Her Husband
  • Tamara Brown, director of The Last Wife and lead actor in Fucking A
  • Jen Quinn, director of The Penelopiad
  • Gabriel Maharjan, actor in The Last Wife
  • Oliver Koomsatira, actor in Fucking A
  • Kathleen Stavert, actor in The Last Wife From


From October 31 to November 5 at Centaur Theatre, Imago Theatre will present Her Side of the Story: Revision to Resist, a festival of performances, encounters and exchange around women who revision known narratives to reclaim Her Side of the Story from the footnotes.

Tickets are $20 or $15 for students/artists/seniors or Pay-What-You-Decide at the door. Tickets can be purchased by calling the Centaur Box Office at 514-288-3161 or online at

What’s On – September 20-27

What’s On

The Secret Rapture by David Hare

Presented by the Professional Theatre Program at Dawson College.

The children of light and darkness battle in this brilliant play by the author of Racing Demon. Gentle Isobel happily runs a small graphics design business with her lover until her sister Marion and her father’s young widow Katherine demand to be taken into the company. Katherine is a destructive drunk and Marion is a Tory M.P. with the heart of a computer. Isobel accepts capital to expand and her business becomes high tech and impersonal.

Wednesday September 20th to Saturday September 23rd at 8pm  @ Dawson’s Theatre

For a full schedule and for tickets please click here.

The History of Sexuality by Dane Stewart

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Presented by Talking Dog Productions.

Five students take a graduate seminar studying the work of revolutionary French philosopher Michel Foucault. As they argue over issues of sexuality, gender, oppression and free will, these theories begin to rupture and spill out into their own lives. The characters expose the complexities of sexuality as it collides with kink, BDSM, disability, gender, and sex work.

Sept 21-23, 27-30 @ 8pm
Sept 23 & 30 @ 2pm

MainLine Theatre

For more information and for tickets click here.

Phenomenal 5ive

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Presented by Madpoetix Productions.

A Project focusing on bringing into the light talented, engaging Black women representing Montreal with the incorporation of a spectrum of performance disciplines including: spoken word, storytelling, dance and music.

Here’s a Quick Selfie with Kym Dominique-Ferguson!

September 20 – 23 8 pm, September 24, 6 pm @ the MAI.

For more information click here.

Gruesome Playground Injuries by Rajiv Joseph


Presented by Playground Productions.

Check out our interview with director Gabriel Maharjan!

Gruesome Playground Injuries is a life-spanning and time-hopping play about two people brought together by illness and injury.
Pay What You Can Preview: September 22, 2017 @ 8:00 (No tickets sold in advance)
September 23, 2017 @ 8:00 P.M.
September 24, 2017 @ 2:00 P.M.
September 25 & 26 2017 @ 8:00 P.M.

Harold Greenspon Auditorium, 5801 Cavendish Blvd.

For more information click here.

Arts Alive! Quebec

Image may contain: one or more people, outdoor and natureMontreal’s West Island hosts a packed event for the whole family. The free two-day event features local West Island artists presenting live music, theatre, displays of visual art for sale, the ever-popular Teddy Bears’ Picnic, and a wide variety of craft and visual art workshops for both children and adults.

September 23 & 24 @ St John Fisher Elementary. For a more detailed schedule please click here.

Sunday Night Improv | Les Lundis D’impro | Art Machine – Theatre Sainte-Catherine

At Theatre Sainte-Catherine, the weekend runs Sunday – Tuesday! They’ve got three regular shows to entertain and delight!


Sunday Night Improv is both workshop and performance! Stop in from 5-7 for a free workshop with improvisers of all skill levels and hone your craft, then stick around for the show at 8 PM (tickets $7).

Presented by Le Nouvau International

For more information, click here.

Les Lundis D’impro is the same deal as Sunday, but this time for the Francophones!

Presented by Le Nouvau International.

For more information, click here.


Here’s TSC’s cabaret style Art Machine, where you can see great Francophone standup, sketch, live music, clown – it’s a variety show so the best thing to do is head down and check it out. Tuesdays at 7:30 PM, tickets are only $5!

For more information, click here.

What’s On & Off is a weekly events-at-a-glance post with an overview of QDF Member shows. If you have an event that you’d like to see listed here please contact

Behind the Curtain: Cultivating Confidence with Gabriel Maharjan, director of Gruesome Playground Injuries

By: Caleigh Crow

For Playground Productions, new swingers on the Montreal independent theatre monkey bars, there’s only the future ahead, laid cleanly before them like white-painted hopscotch squares, still un-scuffed by sneakers and loose pebbles. Their first kick at the can (last playground joke), Gruesome Playground Injuries, offers the story of two characters brought together by injury and illness. The show spans their entire lifetimes and see-saws back and forth in time, and the audience too takes a spin on the merry-go-round of life (okay, that’s enough, for real).

The company was founded by a group of five emerging artists, including Gabriel Maharjan, director of Gruesome Playground Injuries. “It’s really important to the play, the reminder that we all have flaws, and we can all love and be loved despite our flaws,” Gabriel says. “Sometimes we do things we don’t want to do or we do the opposite of what’s best for us. We push people away when we should be letting them in. It’s those kinds of things. It’s not a play of good decisions and bad decisions, but hard decisions for the characters,” Gabriel pauses. “I think everyone’s made a hard decision in their life.”

Gabriel hopes audience members come see Gruesome Playground Injuries to catch a glimpse of the human condition. “I like when a play shakes my perspective of life a little bit, and takes me out of balance, and I feel a little less comfortable on the ground,” he says. The play is “almost existential in the sense that it’s about life. No matter what age you’re at, you always aging, and that’s something that everyone has in the back of their mind, the fact that we’re constantly getting older and nearing a certain end point of life.”

We spend some time talking about the Montreal English theatre community, which Gabriel describes as a “small and feisty”. He’s eager to see the community grow, and has already recruited new member into the fold, Emon Barua, sound designer, who had never worked on a theatrical production before. When reading the script, he asked Gabriel what the playwright meant by ‘beat’ – is that a sound design note? Gabriel counts Emon’s curiosity and willingness to try an entirely new artform as a step in the right direction, saying, “I think it’s important that since we’re quite contained and we like to work amongst ourselves, we need to make sure we get people outside the community in, and part of that is by reaching out to other artists who haven’t worked in theatre, like Emon.”

Working with characters whose entire lives are laid bare onstage and shared with the audience out of time can be a challenge for an actor, as it requires a lot of setting the record straight within the production, another place Gabriel can lend his director’s eye. “We had to make very concrete decisions for ourselves what have the characters going through that is not said. You do that for any show, you make those decisions, but this show has thirty years of making life decisions for the characters,” Gabriel says.

Gabriel and the Playground team have made use of movement in their transitions between scenes, giving the rearranging of furniture and passage of time in the play a performance-based aspect, and to help guide the audience through the misfiled scenes. “For the actors to be able to jump from eight years old to twenty-three to thirteen and back and forth, these transitions help them use the limited time onstage to help switch their acting styles and the characteristics they’re playing with,” Gabriel says. “The transitions offer an opportunity for the audience to reflect on what just happened because what happens next is not a continuation of [the characters’] lives, it will be another side of the story, but it’s not linear in that sense.”

The heightened elements of the show aren’t strictly relegated to scene transitions. There’s a scene towards the end of the show that takes place in a mental facility, and the play didn’t call for much more than chairs, a desk, and some dialogue – a typical meeting setting. “It felt a little empty,” Gabriel admits. “It felt like there could be more for this, we could do something more to represent the characters and what’s going on inside them. So, we decided to play with that and turn that whole scene into a movement piece, and no other scene is like that.” The creative choice to elevate one scene stems from the group’s rejection of style markers as rigid categories that must apply to the entire play. “I like being able to branch out and let the show be more than just one style. I think it makes it a lot more interesting for us as creators to spread our wings out and stretch and feel the different possibilities,” he says, “but also for the audience not to expect the rest of the show.”

It’s a director’s choice to elevate one particular scene in such a way, and though he might not have made it completely alone, it’s up to Gabriel to turn his and his creative team’s visions into reality. As a first-time director, getting used to leadership is an exercise in cultivating confidence. “If anybody who doesn’t do theatre were to watch a rehearsal, they would probably think, what is any of this?” Gabriel refers to common rehearsal hall exploratory exercises, such as “walking around throwing balls around, walking around picking blocks up while turning around, just weird stuff” that might not be instantly recognizable as craft-honing drills but that nevertheless have a place in many actors’ and directors’ toolkits. “As an actor, I love doing the weird stuff, I think if it’s useful let’s do it, but as a director now I definitely have moments where I wonder if the actors will think it’s too weird to be useful.” He explains, “That’s where the confidence comes in. You have to make the decision of what’s going to happen in rehearsal. It’s the difference between being told the wackiness and actually deciding the wackiness for the group. You have to let go of any inhibitions in that sense, and any sort of insecurities about your ability to foster creation.” He pauses to reflect, “It’s a very different role.”

I leave you with a final thought from Gabriel on theatre: “Stories are wonderful, but the story needs to pull at the heartstrings a little bit, or the brain strings or any strings in the body, it could pull at anything depending on the show, but it needs to pull.”

Gruesome Playground Injuries runs from September 22 – 26 at the Harold Greenspon Auditorium, 5801 Cavendish Boul, Cote Saint-Luc. For more information and for tickets, please click here.