Welcome to the digital show program: Rubble
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Rubble
by Suvendrini Lena | A Theatre Passe Muraille and Aluna Theatre Co-Production
Writing by Roula Said | Photo by Jeremy Mimnagh | Transcription: “I wrote twenty lines about love”
Written by
Suvendrini Lena
Director
Bea Pizano
Producer
Kristina McNamee
Scenographer
Trevor Schwellnus
Dramaturgy
Marjorie Chan
Costume Designer
Negar Nemati
Assistant Costume Designer
Goli Zareyi
Sound Designer
Thomas Ryder Payne
Assistant Sound Designer
Ahmed Hegazy
Associate Video Designer
Avideh Saadatpajouh
Props Contractor
David Hoekstra
Production Manager
Carlos Varela
Stage Manager
Flávia F. Martin
Apprentice Stage Manager
Reva Lokhande
Original Compositions
Roula Said
Cast
Lara Arabian | Leila
Yousef Kadoura | Mo
Sam Khalilieh | Majid
Parya Heravi | Noora
Roula Said | The Poet
Avideh Sadaatpajouh is supported in part by a grant from the Associated Designers of Canada.
Aluna Theatre’s Compassion Fund is provided through Theatre Direct’s Balancing Act program.
Aluna Team:
Outreach & Development Coordinator | Maria Paula Carreño-Martínez
Marketing Manager & Strategist | Renato Baldin
Consultation:
Script & Cultural Consultation | Lena Khalaf Tuffaha
TPM Community Consultant | Rahaf Fasheh
Cultural & Literary Consultant / Additional Dramaturgy | Rimah Jabr
Head Carpenter: Curtis Whittaker
Swing Tech: Kevin Yue
Crew: Mitchell Ayres, Sean Baker, Cindy Ci, Frank Incer, Ian Kelly, Dan Makarewicz, Kit Norman, Amber Pattison, Zev Shoag, Leighton Smith, Chris Sutherland, Yusuke Takase, Van Ward
Scenic Painters: Edith Nataprawira, Aryana Rizvi
Visual Story
To access the visual story, please click the button below. A Visual Story is a package that aims to support people with communication difficulties, learning disabilities, English as a second language and Autistic People. It can be used to help anyone access and understand the play. The package may include spoilers.
Note from our Artistic Director
Thank you so much for joining us for the world premiere of RUBBLE by Suvendrini Lena. When I first met the extraordinary artist that is Dr. Lena, we were in discussion to develop and produce The Enchanted Loom at Cahoots Theatre. Back around 2017, she told me she was working on another play, which was inspired by her visits to the West Bank, and Lena Khalaf Tuffaha’s poem, Running Orders, as well as the works of Mahmoud Darwish. She already had written a draft and she told me, “It’s about Palestine. It’s urgent.” I agreed, and alas, as urgent as the play was then, it continues to be relevant today as the Occupation continues.
At the centre of the story, is an archaeologist and her family, unearthing and weaving through the beauty of the day to day and the horrors of history. Deftly drawn with poetic elegance, the play shares the humanity of the people of Gaza. Over the years, the play has been developed through the support of Aluna Theatre, Theatre Passe Muraille, Cahoots Theatre, Pandemic Theatre and Nightwood Theatre.
For this production, Theatre Passe Muraille is thrilled to continue our partnership with the award-winning and innovative Aluna Theatre. With Bea Pizano, and Trevor Schwellnus at the helm, we knew we could trust the company to engage in the difficult conversations and the artistic rigour to invoke those discussions with our audiences.
At a recent sharing with Palestinian community members, Dr. Mousa Abudqqa, a professor from the University of Gaza, described theatre as the moon, reflecting the truth of the sun. Thus, theatre is able to bring light when there is none. The play reflects with complexity and nuance, and still asks the question prompted by Mahmoud Darwish: What is the meaning of poetry amidst a stage of siege? For us at TPM and Aluna, we continue to share the art, and the poetry as a gateway to further awareness, advocacy and desire for change.
Enjoy this reflection, from our safe space in Toronto.
Marjorie Chan | Artistic Director, TPM
Note from the Director
I come from a land where poetry matters. It has always been part of my language. The great poets inspired my youth and awakened my social consciousness. Growing up we sang songs inspired by these visionaries, even if I, as a child, didn’t completely understand the depth of their words.
Then Suvendrini Lena comes along with her passion and commitment, and introduces me to Mahmoud Darwish and Lena Khalaf Tuffaha. I knew I would never be the same artist after reading their words. It has been terrifying composing this play for the stage, and I wouldn’t change a minute of this journey for anything. When I am afraid, I say to myself: this is not about you. It is about a people and a land. There is no place for fear.
This is why I do theatre.
Bea Pizano | Director and Artistic Director, Aluna Theatre
Note from the Playwright
20 years ago, in 2002, a year of siege, the time of Operation Defensive Shield, I read June Jordan’s poem Moving Towards Home at a Palestine Solidarity rally in Vancouver (I studied medicine there). The poem bears witness to the massacre of Palestinian civilians by Israeli soldiers at Sabra and Shatila in 1982 and ends with the lines of radical solidarity:
I was born a Black woman
And now
I am become a Palestinian.
Shortly after the rally, armed with that poem, I ran away from medical school (temporarily). I travelled to Gaza where I lived with a Palestinian activist and her family, and worked with (really learned from) Gazan doctors for several weeks. They changed my thinking about the scope and breadth of being a doctor.
I witnessed siege and the “singing of life” in Gaza. I was able to enter and able to leave. I’ve asked myself how to translate that experience into meaning and convey that meaning to others. For having witnessed, I must respond.
Faced with the Rubble of 2014 in Gaza and the West Bank, I was one of the thousands of people moved by Lena Khalaf Tuffaha‘s poem Running Orders. The poem’s truth about a day in the life of one family in Gaza, cut through the endless repetition of smashed concrete reportage. It meant something to me and others. It travelled around the world, besieging the siege. Words confronting brutality with humanity.
Poems are things that change me.
Through Lena’s words this play took form in my mind… and my characters/actors began to speak a poetry of daily life in Darwish’s lexicon of lemons, kisses, guards and bridges.
Rubble is not a representation of Gaza. It contains many representations: reportage, history, testimony, memory and poetic daily life. My intention is that Rubble is time and space shaped to illuminate and amplify Palestinian voices. Rubble should besiege you with the beauty, power and humanity of poetic lives — poetic resistance.
Theatre is an opportunity in time and space — a shaping of time and space by artists and audience together. When the theatre has been abandoned, poems lost in translation, when we are all scraping our way back together, face to face, across a chasm, the question of why theatre, why live theatre, is more urgent than ever. Does it matter that we are here? Singing life here. You tell me. I am glad that you are here.
Here we are together in it. “Facing time’s muzzle” as Darwish says in the opening stanza of A State of Siege, and facing Leila’s demand to “end the siege!” How do we answer her?
Was Darwish right when he said:
I thought poetry could change everything, could change history and could humanize… but now I think that poetry changes only the poet.
I don’t think so, but you tell me — when the play has passed. Can we leave things as they are?
Suvendrini Lena | Playwright
Beatriz Pizano is a director, playwright and actor, and the founder and Artistic Director of Aluna Theatre, a company recognized for its unique approach to creation, its daring political work, and its experimentation with multi-language productions.
Beatriz has received a number of prestigious awards including the John Hirsch Prize, the Chalmers Fellowship, the K.M. Hunter award and numerous Dora awards and nominations. She is the first Latinx actress to win a Toronto Critics award and a Dora for her performance in Blood Wedding. In 2019 she was named one of TD’s 10 Most Influential Hispanic Canadians.
Most recently Beatriz directed The Walls by iconic Argentinian writer Griselda Gambaro as part of Soulpepper’s Around the World in 80 plays radio series, and Children of Fire by Shahrzhad Arshadi and Anna Chatterton about the Kurdish women freedom fighters produced by Nightwood Theatre in June 2022, and presented in partnership with Aluna Theatre at RUTAS international performance festival last October.
Suvendrini Lena is a playwright and neurologist. Her debut play, The Enchanted Loom was produced by Cahoots and Factory Theatre in 2026 and published by Playwrights’ Canada Press in English and Tamil (translated by Dushy Gnanapragasam). In 2019 she co-created the immersive theatrical installation Here are the Fragments, inspired by the work of the revolutionary psychiatrist, Frantz Fanon, in residency at the Theatre Centre. During the pandemic she worked as a Lead Medical Advisor to Pandemic Programs at Women’s College Hospital. She is an Assistant Professor of Neurology & Psychiatry, University of Toronto and is passionate about the importance of humanities in medical education. As a researcher she works on health equity in neurology and works with Asubpeeschoseewagong First Nation to document the impacts of environmental racism and mercury poisoning in their community.
Gratitude to Fady Joudah and Lena Khalaf Tuffaha for being poets and for granting me permission to set their work on a stage within a story. I am grateful to Emma Tibaldo and Playwright’s Workshop of Montreal for inviting me to Gros Morne to work on this text. The work took a quantum leap forward there. I am grateful for the wise & generous counsel and dramaturgical expertise of Rimah Jabr, Bea Pizano, Rahaf Fasheh and the quietly (until she erupts in squeaks of laughter) visionary Marjorie Chan. The faults of this piece are of course entirely my own.
Gratitude to Wassim Wagdy who introduced me to Darwish in Cairo when I was young and in love. There is no better way to discover this poet.
For a writer is a small miracle when designers, actors and a director embrace (and deconstruct) a script, and make it breathe. I am so deeply honoured to have my words embodied by such a creative team and cast. To Lara, Sam and Youssef we’ve walked ‘hand in hand’ with this play since the first draft – we are like those friends sharing old bread now. To Roula and Parya you dove in “farther and farther”, so unafraid of the chasm. You found clarity, power and beauty therein to sustain us all. And Roula, your voice undoes me.
Marjorie thank you for believing in this project from the beginning. Without you this play would not have been written. Bea you are the master of guerrilla theatre – political theatre – the theatre of resistance, without you this play would not make sense.
The creators of Rubble would like to thank Pandemic Theatre for the support in the development of this play.
Rubble was supported by Theatre Cahoots (Hot House), Nightwood Theatre (Development Funds), and Gros Morne Playwrights Residency.
Source Text
In Rubble, Lena Khalaf Tufaha’s viral poem Running Orders (2014) is initially dramatized and finally recited, in full, by Mo and Noora.
The opening scene is a reference to Darwish’s poem, I have a seat in an Abandoned Theatre (2003). The remainder of the play is a meditation upon Mahmoud Darwish’s A State of Siege (2002). When actors speak stanzas of this long poem Darwish’s original Arabic text appears in projection. All translation of Mahmoud Darwish appearing in this play are by Fady Joudah. They are published in The Butterfly’s Burden (Copper Canyon Press 2007). All poems and translations are used with permission of the authors.
The history lessons draw heavily on Jean-Pierre Filiu’s Gaza: A History (Oxford UP 2014).
Explore the poetry of Lena Khalaf Tufaha here and Fady Joudah here.
Cast
Lara Arabian is a trilingual Dora-nominated, Tkaronto-based artist by way of Beirut, Lebanon, upstate NY, and Paris, France.
As an actor, she most recently premiered her one-woman show, Siranoush, to sold-out audiences at the RUTAS Festival. Other favourite theatre credits include: The House of Bernarda Alba (Modern Times/Aluna), The Solitudes (Aluna/Nightwood) The Silver Arrow (Citadel), Blood Wedding (Modern Times/Aluna Theatre- Dora nomination Best Ensemble) Upon the Fragile Shore (CorpoLuz Theatre), The Container (Theatre Fix). Recent TV/Film credits include: Kim’s Convenience, The Handmaid’s Tale, Ghostwriter, Rabbit Hole, Murdoch Mysteries, Taken, Dark Matter.
As a writer, she’s been a member of the Banff Playwrights Unit and Nightwood Theatre’s Write from the Hip program.
She was nominated for a Dora Award for Outstanding New Play (Youth Division) as part of the writing team for Les Zinspiré.e.s 8 (Théâtre français de Toronto). Lara was recently named the inaugural recipient of the Joël Beddows Playwrighting Prize.
Upcoming: This fall Lara’s play, Convictions, will have its world premiere in France before a run in Toronto as part of the season at Théâtre Français de Toronto.
Parya Heravi is an Iranian/Canadian theatre actress and dentist currently based in Toronto. She graduated from Shamayel Institute of Theatre in Iran in 2015.
She started her theatre career as an actress and International Relations Manager of Carbon Theatre Company in 2016. Since then, she has appeared in two short films and more than 15 productions, as well as performing in various national and international theatre festivals. Her last performance in Electra won her the award for best actress in the Provincial Fajr Festival in Iran. She has recently moved to Toronto and pursues her theatre career in Canada.
Yousef Kadoura is a Disabled Lebanese-Canadian actor, writer, and curator as well as a graduate of the acting program at the National Theatre School of Canada (2017). He is a producer and host of CRIP Times, a podcast series exploring disability in the arts, and was previously the 2018 Co-Curator at Tangled Art + Disability. He is a founding member of the Other HeArts collective. As an artist, Yousef seeks to draw from a plurality of experiences and disciplines to expand the boundaries of performance in pursuit of accessibility, presence, and shared experience.
Yousef’s selected recent theatre credits include: Barker, IAC, with Other HeArts and Toronto’s Year of Public Art (2022), Jonathan, Jonathan: la Figure du Goeland with Geordie Theatre and surrealsoreal (2021) Jihad, Eraser, as a part of the Riser Project (2019).
Sam Khalilieh is very happy to be involved with this beautiful piece of art written by his beautiful friend Suvendrini and directed by his beautiful friend Beatriz. He is a very able actor and has been for a while now. Thank you for coming! Thanks to the wonderful team at Aluna. Thanks to my amazing cast.
Thanks to Brooke, Rifka, Nabiha, Blanch and Mabel.
*Sam’s real name is Mahfuz. He changed it to Sam after he saw how the world felt about Palestinians.
Roula Said is a multi-faceted artist of Palestinian heritage based in Toronto, Canada. As an actor, she has appeared on stage in Anita La Selva’s Dora-nominated Stones and on screen in Ruba Nada’s charming and long-running, Sabah. As a musician and poet, Roula sings, plays qanun (table-harp) and percussion to accompany traditional Arabic songs and original songs created from her sufi-inspired poems.
In addition to composing for Rubble, she recently created music for Azeem Nathoo’s play, 1184.As a mover, Roula has been primarily a performer, teacher and eternal student of Egyptian dance and sufi-style whirling. She is also a member of Wild Soma Collective, along with Andrea Nann, Shannon Litzenberger and Julia Aplin, exploring embodiment as a world-making practice and an architecture connecting us to ourselves, each other and all of life.
Deeply interested in ceremony and meaningful transitions, Roula also works as a wedding officiant and a death doula.
Creative Team
As the Artistic Director of Theatre Passe Muraille, Marjorie places accessibility, innovation, community and collaboration at the heart of the company’s processes and is pleased to once again work with Suvendrini Lena, having dramaturged (and directed) her debut play, The Enchanted Loom.
Her work for TPM includes most recently co-creating The Year of the Cello with Njo Kong Kie (now available in audio form via The Cultch Re/Play Project!).
Other works for TPM include John & Waleed by John Millard & Waleed Abdulhamid (direction/dramaturgy), Ultrasound by Adam Pottle (direction), and Fare Game: Life in Toronto’s Taxis (co-created with Ruth Madoc-Jones & Alex Williams). Some of her previous dramaturgy credits include: Other Side of the Game by Amanda Parris, I Call myself Princess by Jani Lauzon, and Dinner with the Duchess by Nick Green. For TPM, she is dramaturging upcoming works by playwrights Jenn Forgie and Vivian Chong.
Ahmed Hegazy is a cultural worker and emerging sound designer originally from Cairo, Egypt. He has worked as an arts administrator on community engaged projects with the Toronto International Film Festival, Paprika Festival, and Toronto Ward Museum. He is currently Operations Coordinator for two community arts organizations: Community Arts Guild and Jumblies Theatre. Ahmed is growing his sound design practice, working as sound designer on Ahlam Hassan’s The Gaza Monologues for Paprika Festival’s Directors Lab Showcase and as Assistant Sound Designer for Aluna Theatre and Theatre Passe Muraille’s production of Rubble by Suvendrini Lena.
Rimah Jabr is a theatre director, playwright, screenwriter and Ph.D. candidate in Theatre and Performance Studies at York University. She completed a master’s degree in theatre-making from the RITCS in Brussels. She wrote and directed several plays, all produced in Belgium, Canada, and Palestine.
Reva Lokhande (she/her) is an Indian artist, artist advocate, assistant stage manager, associate producer and a script supervisor for film, based in Tkaronto (Toronto) having graduated from Humber College with honours where she specialised in stage managing and wardrobe. She is grateful to have had the opportunity to work with Nightwood Theatre as their Artistic Producer Associate while also working as the Associate Producer at Theatre Direct for their Balancing Act initiative and Forward March Festival. She is excited to be working with Aluna Theatre for the very first time as their apprentice stage manager. At the beginning of this year she successfully completed, Between a Wok and a Hot Pot by Amanda Lin with Cahoots Theatre as their Assistant Stage Manager. Her other credits include: our place by Kanika Ambrose (Cahoots Theatre), Stag and Doe (Port Hope’s Capitol Theatre), The Lawyer Show production of And the World Goes’ Round and Children of Fire (Nightwood Theatre).
Flávia F. Martin (she/her) is a Portuguese Stage and Assistant Stage Manager based in Tkaronto. Recent credits include: Two Sided Mirror (Mixed Company Theatre), Beautiful Renegades (Peggy Baker’s Dance Projects), Cacao| A Venezuelan Lament (Victoria Mata Productions), Light: A Tribute to Toni Morrison (Luminato Festival), The House of Bernarda Alba (Modern Times and Aluna Theatre), Songs for a New World (Randolph College For the Performing Arts), and Lätt Lûtf (Teatro de Creación Remota). Flávia would like to thank our wonderful director, Bea, for trusting and believing that she was ready to take on a show of this magnitude.
Kristina McNamee (she/her) is a Toronto-based producer, arts advocate, administrator, designer, and manager. Kristina is deeply committed to helping the artists and arts organizations that she works with to accomplish their long term goals, while being a positive and proactive team member and leader. Kristina started as an indie theatre producer and designer working with a variety of Toronto artists and playwrights, bringing shows to SummerWorks and the Toronto Fringe Festival. She has worked with such dynamic companies as Aluna Theatre, Nightwood Theatre, Studio 180 Theatre, and Canadian Stage, among others.
Kristina comes to Aluna Theatre after serving as Crow’s Theatre’s producer for over seven years, where she was responsible for the management and execution of their home productions, partnerships, and touring circulation. Kristina is an active member of the theatre community and has volunteered with the Professional Association of Canadian Theatre (PACT) and continues to strive for industry knowledge through peer-to-peer connection. Kristina holds a BFA from Toronto Metropolitan University in Production Performance and has completed further educational courses at George Brown College and City University London, UK.
Negar Nemati is an international Costume Designer with more than fifteen years of experience. After studying Theatre in Tehran University of Fine Arts and graduated with a BFA, she developed her skills under the supervision of well-known Iranian directors.
The most recent movie she costume designed, A Hero by Iranian acclaimed director Asghar Farhadi, won the second highest prize, Grand Prix, at the 2021 Cannes Film Festival.
Among the many theatre projects Negar has worked on, she designed Cherry Orchard for the prestigious German theatre, Theatre Freiburg, in 2017. In 2018, she designed two more plays, The Attack and Macbeth, directed by Amirreza Koohestani at Muncher Kammerspiele. In 2022, Soheil Parsa brought Negar on as Assistant Costume Designer for his adaptation of The House of Bernarda Alba.
In 2016, Negar was awarded Best Costume Design for A Feature Movie for A Dragon Arrives from Iranian Film Critics Guild, and in 2018, for the Berlinale-nominated movie Pig at the 20th Celebration of Iranian Cinema. Currently living in Canada, Negar continues her passion for costume design as a member of IATSE 873 and CAFTCAD.
Thomas Ryder Payne is a composer and sound designer for theatre, dance and film. Selected past theatre work includes designs for National Arts Centre, Stratford Festival, Shaw Festival, Mirvish Productions, Soulpepper, Canadian Stage, Tarragon Theatre Theatre, Factory, Theatre Passe Murialle, Young People’s Theatre, Crow’s Theatre, Modern Times, Aluna, Buddies in Bad Times, Theatre Gargantua, Nightwood Theatre, Toronto Dance Theatre, Theatre Calgary, GCTC, Royal Manitoba Theatre Centre and many others. Thomas has received six Dora Mavor Moore Awards.
Avideh Saadatpajouh is a multimedia designer and activist who explores the endless possibilities of techno-art. Born in the west side of Asia, lives in the East side of Canada. She is a citizen of nature. Her motto: Explore, Experience, Enhance
Her explorations are at the intersection of art, design and technology, focusing on the impact of the Human-Centric worldview. Drawing on her collective knowledge of new multimedia, architecture, industrial design, she explores design in digital spaces, internet art practices, performance art and interactive installations. She works internationally and has had shows and exhibitions in Canada, USA, Iran and Turkey. In 2020, she received the Best Stage Design Award for the kid’s puppet festival in Iran.
Trevor Schwellnus designs sets, lights, and video for performances with independent groups. One of his chief obsessions is the intersection of design, dramaturgy, and cross-cultural art-making. He directed & designed Dividing Lines and Nohayquiensepa with Aluna Theatre (where he is Artistic Producer).
Other design credits: Alien Creature, Ultrasound, Fare Game, Shakespeare’s Nigga, The Sheep and the Whale, Red Snow, Madre, Little Dragon (Theatre Passe Muraille), Marine Life, Hush (Tarragon), White Girls in Moccasins, Of A Monstrous Child, The Silicone Diaries (Buddies in Bad Times), Blood Wedding (Modern Times), Here are the Fragments, (Theatre Centre), Out the Window (Luminato), and others. He redesigned Toronto’s Dora Award statuette in 2019, and has 6 Dora Awards.
Carlos Varela began his career in his native Mexico, where he worked for 8 years with the Thomas Jefferson Musical Theatre Company, touring internationally with many productions. He has also worked with OCESA throughout Latin America, production managing tours of major Broadway productions such as Mary Poppins, The Lion King, and Mexican hit “Mentiras, El Musical.” Since moving to Toronto in 2015, he has focused on work with Summerworks, Rutas Panamericanas, Caminos, Progress, The Fringe Festival, Riser and Luminato.
Selected theatre credits include: 21 Black Futures (Obsidian Theatre), Dixon Road (Musical Company – Dora award nominee) Take The Moment: Cynthia Dale (Musical Company), Anthropic Traces (The Thin Edge Collective), Broken Shapes (Theatre Centre) , YERMA ( Coal Mine Theatre) & Manman la mer (Theatre Catapulte).
Goli Zareyi is an Iranian/Canadian Artist, based in Toronto and Tehran. She has a BFA in Theatre Directing and an MFA in Theatre Practice.
She started her career as a theatre director in 2008, and also works in theatre as a Sound and Costume Designer. Starting with radio dramas and radio theatre in her early career, she experiments with different qualities of sound in each of her directing pieces. Goli has directed several performances in Tehran, Edmonton and Toronto and has won many awards for her pieces.
She is also active as a director and producer in short film industry. Her film Magralen premiered in the Generation competition of the 69th Berlin International Film Festival and also screened in many other prestigious film festivals and was awarded or nominated in some of them.
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Accessibility
Sage Lovell (they/she) is an artist, writer, and entrepreneur. Being Deaf, Queer, Disabled, and Neurodivergent; they are an artist who likes to work their magic, using different art mediums to shift perspective and spaces. Over the past decade, Sage has worked with different communities in multiple capacities to develop meaningful work that continues to evolve. With their multitude of talents, they were able to incorporate their passion for interweaving media, language, performance, and accessibility into works of art. Their post-secondary experience at Gallaudet University made them realize that sign language accessibility is possible!
In 2020, Sage won an award from ArtEquity for their advocacy in the arts community. In 2019, Sage was a finalist for the Community Arts Award (Toronto Arts Foundation). In 2018, Sage won the 2nd place Defty Award (Canadian Cultural Society of the Deaf) for their ASL poetry production of “The Four Elements.” Sage is also the founder of Deaf, What? and That Deaf Witch.
If you want to connect directly with Sage, feel free to contact them/her at sage@deafspectrum.com
Aneesa Mustafa graduated with an Honours Bachelors in American Sign Language – English Interpretation in 2020. She works as a freelancer interpreter in Toronto specializing in the arts. In her spare time, she rides horses, travels often, and reads too much.
Maher Sinno | ماهر سنّو (they/he) is an Arab actor, writer, & producer based in Tkaronto. Maher is also a performer mixing the art of slam poetry, gender performance, belly dance, and filmmaking. Credits: The Green Line (Edmonton Fringe Holdover), Crossing Gibraltar (Cahoots Theatre, TO), Mhajjir (playwright/producer, Paprika), La Déception M’a Ouvert Les Yeux Workshop (Theatre Passe Muraille), Tout Sexplique (GAPC Productions, Ottawa), Hair (Assistant Director, Harthouse) They are excited for you to witness the miraculous “Rebirth of Leila & Kays”
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