We are thrilled to welcome audiences to BUTCH/FEMME written and directed by Emily Paterson. It is so exciting to welcome this incredible emerging artist to the TPM stage.
This last winter, I was invited to adjudicate the Hart House Drama Festival, comprised completely of works developed and created by University of Toronto students over four evenings. I had adjudicated many times at the high school level (formerly the Sears Drama Festival) and so was excited to witness and engage with the student works. The festival structure was not dissimilar. Student productions were performed nightly, 2 – 3 in an evening. At which point, an adjudicator (in this case, me) would talk briefly to audiences about what they had experienced and some of the nature of the discussion to be had with the students. As the audience waits for their loved ones, backstage, the adjudicator talks more in depth with the students, with criticisms, comments and suggestions. In many ways, this is the most impactful part of the evening (for me) as I learn about the artists’ processes and approaches and could offer them accolades and guidance for the future. Seeing that many shows in such a short amount of time, I had thought that it would drain me, but instead meeting the students was energizing. Although I was aware of the festival at Hart House, I had never really had the opportunity to engage with it, so I am grateful to have been invited.
No more so than when I saw BUTCH/FEMME written and directed by Emily Paterson. In many ways, Emily’s play is simplistic in presentation: one domestic setting, old relationships to be rehashed, all in real-time with the audience. But what Emily offers as both writer and director, is a nuanced, moving, evening of theatre. As a writer, she displays an incredible ear for dialogue, crafting realistic, challenging conversations between the protagonists that draw us in to their intimate world. As a director, there is a real maturity of restraint that creates an unbearable tender tension.
The festival came at a time when a President was taking office in the States, and with it, a new wave of normalising hateful rhetoric, particularly directed towards the LGBTQ2S communities. It was affirming to see many Queer students asserting themselves through their art, loudly, boldly and colourfully. In an environment that explored many different avenues and expressions, to me, Emily’s careful, delicate play showed an assurance and confidence in her aesthetic, and how she wanted to present the work. I found Emily’s work utterly convincing and awarded it the Outstanding Production at the Festival.
Pictured: Marjorie Chan
China Doll by Marjorie Chan, directed by Kelly Thornton, a Nightwood Theatre production, Styling and costumes by Joanne Dente and Camellia Koo, Photography by John Lauener
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.
LATE by Marcia Johnson, directed by Marjorie Chan – Performers: Sabryn Rock, Edwige Jean-Pierre, an Obsidian Theatre Production
A few years later, I was working with playwright Marcia Johnson on her play, LATE, as a dramaturge with Obsidian Theatre. I met with Philip Akin at their Dundas St. East office, worried I was somehow in trouble. But instead, he told me that he was putting LATE in the next season as a part of a double bill. I was thrilled for Marcia! And then he said to me, “And you are going to direct it.” At that point in time, I had a career as a performer, and writer. I was only beginning to establish my practice as a dramaturge as I was invited into more and more rooms of new play development. I had directed a few readings and a SummerWorks show. I blurted out, “I’ve never directed before!”. And he replied, “I don’t care.” He didn’t, because he either had confidence that I could do it, or was willing to risk that I would fail spectacularly. To be fair, he let me shadow him as a director the year leading up to the production! In the end, directing my first professional production was formative and taught me many lessons that I still hold today. It let me see that I also understood the nature of the work, and to have the confidence to pursue it.
It’s important that incredible artists early in their career are given opportunities. In a time of scarcity, I am afraid that the theatre industry will lean on only the known playwrights, programming with caution only the experienced. It has been an inspiring experience to bring BUTCH/FEMME to TPM and inviting Emily to have a professional premiere. Emily is, in fact, still finishing her last year of her undergrad degree at U of T, while this year also remounting her accomplished play, writing, directing, and now adding producing. She is an artist to watch, and we are so thrilled to have her here at TPM. Enjoy.