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Posts tagged ‘Damien Atkins’

Artist Profile: Bilal Baig, Playwright

Interview by Hallie Seline.

It is an absolute pleasure to feature playwright Bilal Baig, chatting about what inspires him as an artist, the development of his current piece Acha Bacha, on stage this month with Theatre Passe Muraille and Buddies in Bad Times Theatre, and on writing “the story you need to tell”.

HS: What inspired Acha Bacha and how did the piece develop?

Bilal Baig: I was sexually assaulted when I was seventeen. One of the first things that was irrevocably changed after my assault was my relationship with my mother. I began to think: I’m queer, I’m not very religious, I like to fuck with gender sometimes and now I’m a survivor of sexual assault – will my mother EVER think I’m good?

I sat on this thought for about a year before I took a playwriting class with Judith Thompson at the University of Guelph and under her guidance, the first draft of the play exploded out of me in a few weeks in April 2013. That summer, I was connected to Damien Atkins, who worked as a dramaturge on the play (and is still a current mentor in my life). Through the Paprika Festival‘s playwright residency program, I met, worked with and fell in love with Djanet Sears, which resulted in an excerpt sharing of the play at the festival in April 2014, where Andy McKim was present. From that point on in the play’s developmental journey, I worked predominantly with Andy, Jiv Parasram and Brendan Healy as dramaturges.

Bilal Baig. Photo Credit: Tanja Tiziana

HS: I am very excited about the team working on the show. What has it been like working with these artists bringing your show to life?

BB: I am very excited about this group of artists coming together as well! There has been so much love in the room and a fiercely deep commitment to understanding the story and honoring it with such care, curiosity and empathy. I am in sincere awe of all the artists I get to work and play with every day throughout this process! So much love.

HS: What are you most looking forward to about sharing this show with audiences now?

BB: I’m really curious about what the conversations around power, sex and shame will be surrounding this play.

Bilal Baig. Photo Credit: Graham Isador

HS: I know that you’ve both developed work with the Paprika Festival and worked with them. What has been the impact of this outlet on your growth as an artist?

BB: Paprika has been instrumental in my growth as an artist. It was a playground for me (for five years!) to explore my artistic obsessions and learn from what it feels like to put your work out there when it’s not ‘ready’. Artists who I met through Paprika five years ago have become friends I collaborate with today.

HS: What is best piece of advice you’ve received either in life or in art?

BB: “Write the story you need to tell”. That was actually the prompt given by Judith, which lead to the first draft of Acha Bacha. I think I use this advice in my life as well!

HS: What inspires you?

BB: I’m inspired by genderqueer Indigenous, black, people of colour living their truth. I feel like my art is probably inspired by shitty events happening in the world that devastate/confuse/terrify/arouse me to the point where I can’t talk about it anymore and I must write it.

Bilal Baig. Photo Credit: Graham Isador

Rapid Fire Questions:

What are you watching right now? America’s Next Top Model.

If you could travel anywhere, where would it be? Fiji or New Zealand. Or Vancouver.

Favourite food: Mom’s chicken fried rice or biryani. Or pizza.

What other show are you most looking forward to this year? Trying everything in my power to catch Calpurnia before it closes. Looking forward to Prairie Nurse at Factory Theatre.

Current mantra or goal for yourself as an artist this year: You’re allowed to feel ambivalent about your work and this career you are pursuing. That is okay.

Acha Bacha

Who:
Co-Produced by Theatre Passe Muraille and Buddies in Bad Times Theatre.
Written by: Bilal Baig
Directed by: Brendan Healy
Featuring: Shelly Antony, Qasim Khan, Omar Alex Khan, Matt Nethersole,
and Ellora Patnaik
Set and Costume Design by: Joanna Yu
Lighting by: C.J Astronomo
Sound Design and Music by Richard Feren
Stage managed by Kat Chin

What:
For years Zaya has balanced his relationships with his religion and his queer identity. But as secrets from the past reveal themselves, and crisis strikes his family, he is torn between loyalties, culture, and time. Written by Bilal Baig, and directed by Brendan Healy, Acha Bacha boldly explores the intersections between queerness, gender identity and Islamic culture in the Pakistani diaspora. The show uses both English and Urdu to tell a story about the way we love, the way we are loved, and how sometimes love is not enough.

Where:
Theatre Passe Muraille Mainspace
16 Ryerson Ave. Toronto

When:
February 1-18, 2018

Tickets:
artsboxoffice.ca

Connect:
@beyondwallsTPM
@buddiesTO
#AchaBachaTO

On Our Radar TO: Get Stoked for Theatre this November!

Why is theatre relevant? Whether it allows you to re-connect with your inner child, be exposed to a new perspective, challenges your pre-conceptions or allows you to let your guard down, whether you’re looking for a sexy night out, a night to sing and dance with childish glee without feeling out of place, or simply looking to be entertained and connect with those around you through classic love stories and a beer in hand, these productions are On Our Radar, Toronto, and we think you should get stoked for theatre this November!

Savage in Limbo

Written by John Patrick Shanley, presented by Bob Kills Theatre

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With a newly extended run, we’ve heard nothing but exciting things about this production. Bold, brave work, exciting use of a new venue to the Toronto scene (The Downstage), and some incredible talent that must be noted!

“John Patrick Shanley is an Oscar, Tony and Pulitzer prize-winning writer of stage and screen. He is best known for the 1988 film Moonstruck, and the 2004 play Doubt, which was also adapted into an Oscar-nominated film in 2008.

Bob Kills Theatre is an experience in visceral theatre. Founded by Melissa D’Agostino and Diana Bentley, the company strives to present unique, often surreal, texts in interesting venues. With an emphasis on bold stories and the virtuosity of performance, Bob Kills Theatre aims to challenge, engage, entertain and instigate.”

Various 32-year olds seek love, sex and a way out of their dead-end lives.

Where: The Downstage, 798 Danforth

When: **Extended Run** October 22nd – Thursday November 7th 8pm.

Tickets: $20 savageintoronto.com

The Double

A TheatreRUN production presented by Tarragon Theatre

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Adapted from the novella by Dostoevsky, created and performed by Adam Paolozza, Arif Mirabdolbaghi and Viktor Lukawski, we’ve heard this production described as hilarious, whimsical, psychologically complex, haunting and magical. If that doesn’t catch your interest, maybe this delightful trailer will. Catch this gem of a remount before it closes!

“When are you no longer yourself? The anxious government clerk Golyadkin is plagued by a stranger who looks just like him but is more daring, romantic and brash. Inspired by Dostoevsky’s novella The Double, this theatrical triangle between a neurotic, his doppelganger and a stand-up bass transports us to 19th century Russian high society and Golyadkin’s labyrinthine search for his identity.

After a hit independent run last season that saw a Dora Award win for lighting design, Tarragon warmly welcomes this dark satire about our deepest fears of losing our identity.”

Where: Tarragon Theatre Extraspace

When: October 15th-November 24th

Tickets: 416-531-1827 Tarragon Box Office

Dirty Butterfly

Written by Debbie Tucker Green, presented by Bound To Create Theatre as part of Obsidian Theatre’s 2013/14 Presentation Series

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If there is one production we have been excited about for its first professional Canadian Theatre debut, it’s Bound to Create Theatre’s production of Dirty Butterfly as part of Obsidian Theatre’s 2013/14 presentation series. Since its first run at the 2012 Toronto Fringe Festival, we’ve heard nothing but incredible things of this arresting play by British playwright Debbie Tucker Green and after seeing its opening, this hypnotic play is not to be missed!

“This drama explores voyeurism, power and guilt by confronting the collateral damage of domestic abuse and racial economic divide.”

Where: Aki Studio Theatre, 585 Dundas E.

When: Previews Oct. 30-31st, Opens November 1st and runs to November 17th. Tues-Sat 8pm, Sun 2pm

Tickets: $20-$25 Preview 15$, November 10th PWYC. www.boundtocreate.com

Moss Park

Written by George F. Walker, presented by Green Thumb Theatre/Theatre Passe Muraille

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There’s a new George F. Walker in town and with some pretty incredible young Canadian talent as its leads, local talent Haley McGee and Vancouver native Graeme McComb, and we’re into it!

“Moss Park is an intimate look at two young people as they confront an uncertain future.  In this follow up to Tough!, George F. Walker takes Bobby and Tina on a journey as they fight to map a life that doesn’t include poverty.”

Where: Theatre Passe Muraille, 16 Ryerson

When: Previews Runs November 5th-16th, Tues-Sat 7:30pm, Mat Sat 2pm.

Tickets: $15-$32.50, Matinee PWYC, 416-504-7529, passemuraille.on.ca.

Alligator Pie

Featuring poetry by Dennis Lee, presented by Soulpepper

Soulpepper's Alligator Pie in rehearsal, Raquel Duffy, Mike Ross, Gregory Prest. Photo Credit: Nathan Kelly

This needed a remount in the most heart-felt way. We saw this last fall and what a treat it was to watch this talented group of artists weave the children’s poems of Dennis Lee together with heart, humour and glee-inducing creativity. This family-friendly production is definitely enjoyable for all ages on so many levels as it celebrates imagination and invention.

Where: Young Centre for the Performing Arts, 50 Tank House Lane
When: Opens November 3rd and runs to December 1st
Tickets: $23, Rush $5-$22 416-866-8666, www.soulpepper.ca

Romeo and Juliet

Written by William Shakespeare, presented by Shakespeare BASH’d

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If you know anything about Shakespeare BASH’d it’s the long line-up of Fringe hopefuls trying to snag the last few tickets at the door of their two sold-out Fringe hits with both their 2012 production of Taming of the Shrew and Much Ado About Nothing this past Summer at the Victory Café. If you managed to get your tickets early, then you got to see what all of the hype was about – a clean, story-focused Shakespeare, chalk-full of boisterous local talent, all of which you could enjoy with a drink in hand. Well BASH’d is about to present their first tragedy outside of the Fringe circuit and bring us to the incredible 3030 Dundas West in the Junction, inviting us to grab a beer (perhaps from one of the 3030’s many local craft beer selections) and reconnect with Shakespeare’s greatest story of original young love-at-first-sight.

Where: 3030 Dundas West in the Junction

When: November 19th-23rd Tuesday-Friday 7:30pm, Closing Saturday at 4pm

Tickets: $16-$21 with advanced purchase highly recommended* http://www.shakespearebashd.com/tickets.html

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Mature Young Adults

By Wesley J. Colford, presented by Aim for the Tangent

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We had the pleasure of catching this gem at the Atlantic Fringe Festival on a visit to Halifax this September and we’re very interested to see it in its next stage of development in Toronto at the intimate Videofag space. Andrea Nemetz from the Chronicle Herald expresses our thoughts on Mature Young Adults perfectly: “Everyone has been a teenager in love, or will be. …an astonishingly real look at that most complicated of emotions.”

“This tragi-comic love story continues the theatrical tradition of East Coast playwriting greats David French and Daniel MacIvor with a contemporary twist for the Facebook generation. In a world where labels and gossip fly through cyberspace like lightning, is it possible to love without giving up your identity? Can you escape the container your community places you in?”

Where: Videofag, 187 Augusta Ave.

When: November 20th-24th: 19th-22nd 8pm, 23rd & 24th 4pm & 8pm

Tickets: $15 at the door. Advance tickets available through T.O. Tix www.totix.ca

After Miss Julie

Written by Patrick Marber, presented by Red One Theatre Collective

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If you are looking for a crazy, sexy performance to spice up your life as the temperatures drop… we’re looking to After Miss Julie presented by Red One Theatre Collective. After Miss Julie is a version of Strindberg’s Miss Julie by Patrick Marber, where Marber amps up the power play between Julie, John, and his fiancée Christine to a deliciously dangerous level. The result, a steamy and at times manic and even hilarious power play amongst the class structure of 1945 England. With David Ferry as the director and a cast of some exceptional young local talent (Claire Armstrong, Christopher Morris and Amy Keating), we can’t wait to see what Red One brings to the Storefront this November.

Where: The Storefront Theatre, 955 Bloor Street West

When: November 15th-30th (Preview November 14th) Tuesday-Saturday 8pm, Sundays 2pm

Tickets: $20/ Tuesdays $10/ $15 Preview)

The Sacrifice Zone

Written by Suzie Miller, presented by Theatre Gargantua

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If you’ve never been to a Gargantua performance, now is your chance to catch their world premiere of their 10th cycle of work The Sacrifice Zone. Created through their unique process, Theatre Gargantua is artist driven and works as a creative ensemble, producing projects in two-year cycles. We’re overflowing with excitement to see their latest creation, blending physical theatre, vocal soundscapes and unique storytelling and staging and we think you should be too!

“An industrial explosion shatters lives in an isolated resource town, rocking the balance of the community. While Alex and Hannah struggle with the loss of their partners, Laura and Patrick renegotiate the boundaries of a love affair, and newcomer Elly watches the emotional landscape change as arrestingly as the physical environment does. When everything is at stake, what would you sacrifice to make things right?

The Sacrifice Zone cuts right to fundamental questions of who and what are our responsibilities? And is balance, indeed justice, ever possible? Gargantua explores real world issues of individual, corporate and environmental accountability through their signature physical and critically acclaimed contemporary visual style in this gripping production based on a script by celebrated Australian playwright Suzie Miller.”

Where: Factory Studio Theatre
When: November 13th-30th Wednesday-Saturday 8pm, Saturday November 16th & November 20th 2pm.
Tickets: $19-$25, Buy tickets at www.factorytheatre.ca 

The Gay Heritage Project

Created and performed by Damien Atkins, Paul Dunn & Andrew Kushnir, presented by The GHP Collective in association with Buddies in Bad Times Theatre

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We just caught a glimpse of this promo video, and we can’t wait to catch it mid-November! A collaboration between acclaimed theatre makers Damien Atkins, Paul Dunn, and Andrew Kushnir, The Gay Heritage Project offers audiences a unique chance to discover, celebrate and connect to our queer heritage. Once again, Buddies in Bad Times provides Toronto with relevant, thought-provoking, socially-conscious theatre.

“Three of our country’s most gifted creator/performers set out to answer one question: is there such a thing as gay heritage? In their search, they uncover a rich history not often shared and shine new light on contemporary gay culture. The result is a hilarious and moving homage to the people who came before us and the events that continue to shape our lives.”

Where: Buddies in Bad Times Theatre, 12 Alexander Street, near Yonge & College

When: November 17th-December 8th, Tuesday-Saturday 8pm, Saturday & Sunday 2:30pm, Preview Performances 8pm

Tickets: $20-$37

Know something that should be On Our Radar, Toronto? Connect with us through Twitter & Facebook using the hashtag #OnOurRadarTO or send us an email to inthegreenroom.ca@gmail.com. What’s on your Radar? 

A Play-Within-a-Play-Within-A-Church: We Chat with Rosamund Small, Writer of Genesis & Other Stories at the 2013 Toronto Fringe

Interview by Hallie Seline

I met up with Rosamund Small, writer of Genesis & Other Stories, one of the site-specific productions that you can (and should) check out as part of the 2013 Toronto Fringe Festival July 3rd to the 14th. Contrary to what the promo pictures might suggest, should you have seen them tantalizing your facebook walls and twitter accounts, she was fully clothed in a lovely summer outfit, with no cheekily-playful shrubbery keeping her modest. We talked craft beers, excessive amounts of hummus and the world of theatre school and life after on the patio of Grapefruit Moon in the Annex. And then when our hummus plate finally was left bare, we talked about the play she’s been developing for four years and is still apparently re-writing a week before show-time, Genesis & Other Stories…

Genesis Poster

HS: Let’s begin. Talk to me about Genesis & Other Stories.

RS: Genesis is a show that I actually started writing when I was really young. I started writing it when I was seventeen. I had just written my first show that I was really proud of, which is hilarious because I was about fifteen/sixteen at the time, but it had like three jokes in it and people really, really laughed and I thought…

HS: “Am I funny?”

RS: Yeah! Exactly. And I mean, you know, it wasn’t some work of genius but that was in high school and I had never really experienced that very specific high of sitting in an audience, and the moment when every body laughed, you could really know, “oh wait, they are really listening”. So I determined that I wanted to write a really balls-to-the-walls comedy. (She laughs.) It was a really long time ago when I wrote the first version of Genesis & Other Stories and did a performance of it in high school. After that, I continued to work on it for the first time through the Paprika Festival with Damien Atkins as my mentor, who, may I say, is just the most wonderful person. He has such a specific sense of humor, which makes me laugh so much all while he’s being incredibly serious. He was such an inspiring person to work with. All of this was, believe it or not, about four years ago. We did a staged reading at Paprika and the improvements I had made on the script and having done the staged reading with a really solid group of actors, meant that I felt like there was something I could clock about that success.

After that I put it away and didn’t really read it, in fact I didn’t read it for about four years. When I finally looked at it again, all I could think was, “Ah, this doesn’t make any sense. This is dreadful!” I had thought it was so funny and cleaver and then four years later you read it and you’re just like “oh god!” But still, we did a table read of it and by just sort of happenstance, Vivien Endicott-Douglas, who was in the table read playing the main character, who is actually supposed to be a man, (she was great, obviously), was really enthusiastic about it. I don’t know, just her response to it… the fact that she, who is so smart and able to analyze scripts in a very thoughtful way, still really loved it… which for someone who thought after four years that this play didn’t make any sense, it was incredibly inspiring.

So I decided that I would ‘fix’ it, and that’s why we brought it back to Paprika. We teamed up together, Vivien and I. It was really her enthusiasm that made this show go back into development. We worked on it last summer and did another staged reading in January and a production with Paprika in March and even now we are still…

HS: Re-writing?

RS: Yes.

HS: Still?

RS: Yes! Oh my gosh, the obsessive re-writing of this show is… crazy. Like it’s crazy. It’s crazy!

HS: And the show is going up in the next week?

RS: Yup.

HS: Alright!

RS: Well it’s really different now. At first it was like, new scenes and new elements, but now it’s really just about clarifying little tiny moments. I think it’s a testament to the actors and to Vivien and to the fact that we’ve all worked so long on this project together, that usually when the change happens we all think “Oh, good! There it is. That makes more sense” and everyone is on the same page about it.

The Cast of Genesis & Other Stories: Jared W. Bishop, Tess Dingman, Hayden Finkelshtain, Katie Housely, Wesley J. Colford

The Cast of Genesis & Other Stories: Jared W. Bishop, Tess Dingman, Hayden Finkelshtain, Katie Housely, Wesley J. Colford

HS: So the cast you have now, you’ve been working with them throughout your development with the show for the past year?

RS: Yes, since November, so they’ve played a really valuable part of the show’s development of where it is today. I think when you trust your actors, I mean you always have to let them try things out and see what works, but when they ultimately don’t know what they are doing, it’s incredibly helpful for the development of the script.

HS: It gives you a chance to see it fleshed out in front of you and realize when the script really isn’t working.

RS: Yes! Totally.

HS: So, let’s talk about the origin of Genesis & Other Stories. Where did the idea for this play come from?

RS: You mean, why would I write about a Christian play within a play? Well, religion and theatre, I think, are really the two obsessive, kind of crazy, kind of amazing things that I see people really dedicate their whole lives to, so I thought, why not put them together. (She laughs). For example, the idea that when you go on stage, you know, if you fail it’s just terrible and it’s often thought of as being just the worst for an actor. So I thought, well great, let’s talk about that. We have some characters who are all about that, who think “Oh I’ll just look stupid” and that fear underlines everything for them, while we have other characters who are working on this play and thinking “Well if I fail, it’s for the grace of God” and “I care about this play because it’s a part of the other thing that people really dedicate their lives to”. The idea of really having to put yourself on the line and having faith in something is a real unity between a lot of the ways that artists think and the ways that many people who are religious think.

HS: You know, I have never really thought of it like that, but it’s kind of true. It’s funny, we were discussing earlier how theatre can be a little cult-like sometimes and it can almost consume you.

RS: Totally.

HS: Well and I guess with both that and religion, there can be a fine line.

RS: Yeah, I think there is. And I also think that there is a really great parallel of following a script, you know, following text, which you don’t realize as having that kind of power. Which is so funny, because I’m a writer, and in our rehearsal room, the writer is present, you can ask me about the text. But ultimately, the writer isn’t present for most theatre and you’re just supposed to trust how you think and interpret it for your time, which is very similar to a lot of bible conversations. So for this to be a bible play, and for the characters to be arguing about how they should literally be following this bible play was just a very appealing little dynamic for me.

HS: So in a description of the show, it’s labeled as a “romp to get you thinking”…

RS: Oh my. Sounds exciting!

HS: Very! Specifically it’s described as follows: “Slapstick, satire and meta-theatre frame a surprisingly complex story about lonely people trying to fill roles that do not suit us.” Can you talk to me about the roles that humor and pain play in Genesis & Other Stories and about your thoughts on using humor to get to something a little more poignant in your writing?

RS: For sure. I mean up until very recently, and I really mean like February, I thought that comic relief was important in a dark story or it’s important to have pain and comedy next to each other, like there should be a moment of pain and a moment of comedy. We went through these drafts of Genesis & Other Stories where everything would just sort of stop, all of the ‘funny’ would stop and we would have our moment of ‘pain’, then the comedy would start again, and I’ve just really shifted my thinking on that. I think that a real comedy is pain, like it’s all mixed in together. It’s not like you inject the drama or place it in other scenes. Anything that really makes someone laugh from his or her gut is probably about pain. So I’m not equipped or interested in, at this moment in time, writing something that makes anyone in the audience want to cry. That’s not where I’m at right now, particularly. But at the same time, I don’t think comedy is a real escape, at all. It’s like facing something in a way that you feel you actually can face it. It’s the fun-house mirror version of reality, but that doesn’t mean that it’s not completely real.

So the fact there there’s a lot in the play about being in the wrong place, not being able to live up to expectations, not being able to be who you are, like there’s queer themes and gender themes and a lot of things about people being in the wrong role and then literally, on stage in a role where they don’t fit or can’t do, those situations can be funny, even though they can be awful or poignant at the same time.

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HS: So you are performing at Trinity St. Paul’s United Church. Are you rehearsing in the church, as well, or are you just performing there for the duration of the Fringe Festival?

RS: We’ve rehearsed on and off a few times in the church, but we haven’t been able to be there every day.

HS: Being labeled as a site-specific show, how has being in the church with the show affected your actors or the play, itself, as you’ve said you’re still re-writing?

RS: I think it forces you to face exactly what you’re talking about, you know? I mean it makes you think, “What church is it? Where are you? What’s out the window? How old is it?” All of those hyperrealism elements come into play with site-specific and that has been really great. But it’s also meant that we can’t get away with anything cheap. I’m not interested in making fun of all religion and I’m not interested in making fun of Christianity, in particular, even. You really want to make fun of a very specific moment and a very specific character with a specific belief and so performing in an actual church has really heightened that kind of specificity for this story. In terms of the actors, I think to have them doing a play in an environment where plays aren’t really ‘supposed’ to be done, they’ve had to work so hard just to make that work, which they do, I think. It’s going to be totally theatrically valid, especially because of Vivien’s work, but it’s just because they are so used to thinking “Well, the lights will light me in a way that draws attention to me” and now it’s like, no, if you’re not good enough, no one will even know what you’re doing. So, yeah, they’ve really risen to that challenge in a fantastic way.

HS: What do you think someone can hope to get out of seeing Genesis & Other Stories that that they, perhaps, might not be expecting?

RS: I think probably that it will be really inclusive, I hope. I only say this because Performing Occupy Toronto, which was my last play, most of the response that I received from people is how they really expected it to be incredibly preachy or politically, it would be really one-sided, and I didn’t speak to anyone who felt misrepresented or angry or that their perspective was really left out of the show, so I hope that I am able to repeat that. I really hope that this play incorporates respectful perspectives from very religious people, from atheists, from somewhat religious people. I hope that will be what people can walk away with, unexpectedly, maybe… that everyone feels included. I think when you’re satirizing something, especially something like religion, or politics et cetera, it gets people’s backs up quite immediately, and I really like people to be surprised by the fact that you can have a thoughtful conversation in art and it doesn’t have to be anger-inducing. It can be thoughtful and enjoyable. I really think this is the case.

HS: Fantastic. Lastly, what song would you encourage your audience members to listen to before coming to see Genesis & Other Stories?

RS: William Tell Overture.

HS: And with that, we’ll see you at the Fringe in a church!

RS: See you at the Fringe in a church.

Genesis & Other Stories - Promo Pic #3

 
What: GENESIS & OTHER STORIES by Rosamund Small, directed by Vivien Endicott-Douglas, a production by Aim for the Tangent Theatre
 
When: The Toronto Fringe Festival – July 3rd to 14th, Weeknight and Saturday shows at 9pm, Sunday shows at 8pm
** With a special Pay-What-You-Can Preview Performance Friday June 28th at 8pm.**
 
Where: Trinity St. Paul’s United Church, 427 Bloor Street West
 
For more information visit http://www.aimforthetangent.com/genesis-other-stories/
 
Tickets: Purchase by phone or online – 416-966-1062 or http://fringetoronto.com/ 
 
Check out the trailer for Genesis & Other Stories here: