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Posts tagged ‘Jenna Harris’

“Collaboration, Mentorship and Intertwining Art & Activism” In Conversation with Melissa-Jane Shaw, director of LELA & CO.

Interview by Hallie Seline

It was a complete honour and pleasure to chat with my ever-inspiring friend and mentor Melissa-Jane Shaw about her latest project directing Lela & Co. We spoke about collaboration, intertwining art and activism, and the necessity and power of mentorship in this community, both as a woman and an artist. Lela & Co. is on stage now at the Theatre Centre until October 8th.

HS: Tell me a little bit about the show and what it has been like directing this piece.

MJS: Lela & Co. gives space for a woman to tell her story of being sex trafficked by her husband, during a time of war. Beginning with memories of her childhood, Lela dives headfirst into her haunting and harrowing story with bravery, tenacity and even humour. I hope it will be a satisfying 100-minute theatrical experience, as well as a moving and motivating piece of activist art. Directing Lela & Co. has been both rewarding and hard. It’s a tricky piece and requires careful handling. It has really tested my directorial chops. While I don’t want to let the audience off the hook with the play’s challenging content, I also want to avoid gratuitous voyeurism. I hope I’ve kept that balance.

Photo Credit: Dahlia Katz

HS: What has it been like collaborating with Discord and Din Theatre?

MJS: Well, just as Seventh Stage is really MJ Shaw, Discord and Din is really Jenna Harris, and collaborating with Jenna has been wonderful. As a co-producer, she’s incredibly hard-working, professional and level-headed. As an artist, she’s very smart and conscientious, open to taking risks and is always thinking beyond the rehearsal walls. It’s been a great collaboration, especially considering we didn’t even know each other before we started working on this show together.

Photo Credit: Dahlia Katz

HS: Can you speak to me more about the local charitable organizations that you have aligned the show with and about the link you are making between art and activism?

MJS: Our hope is that Lela & Co. leaves the audience with a sense of “so what can I do?” We would like to capitalize on that feeling by having a local related charity present after each show for a talk-back and provide the opportunity to get involved and/or donate. We are partnering with,, and We are also having several school groups in for educational workshops and talk-backs. Our larger mission is to get the subject-matter of Lela & Co. beyond the walls of the theatre.

Photo Credit: Dahlia Katz

HS: That’s incredible to hear! What’s next for yourself and for Seventh Stage Productions?

MJS: Seventh Stage will continue to develop its musical production Wendy, Darling, which is a contemporary feminist look at Wendy’s (of Peter Pan) life once they grow up. I will move onto a couple of choreography gigs and launch my dance fitness program FITPOP, a class designed to bring out everyone’s inner dancer. On a personal front, my husband and I will continue the next steps of our fertility journey. Hopefully this time next year I’ll either have a big belly or a babe in arms.

HS: What shows are you most looking forward to seeing this season?

MJS: Oh jeez… well, I’m excited to see my friend Rosa Laborde’s show Marine Life at The Tarragon. Looking forward to Nightwood’s Asking for It, which is a very compelling subject-matter to me. I’ll also see Musical Stage Company’s Life After. Otherwise, I’m a pretty terrible theatre-going planner.

Photo Credit: Dahlia Katz

HS: What is the best piece of advice you have ever gotten/What is your current mantra that you’re living by?

MJS: Stop bullying the universe! If something is too hard or you are putting more in than you’re getting out, then it’s time to let go. I have a tendency to muscle through things and work harder than I need to. This is my approach at working ‘smarter’ and letting the right things come to me, rather than me always reaching out.

HS: I would love to hear you speak a bit about Mentorship. You have been such an amazing mentor to myself and to some of my colleagues, as well. Did you have a mentor who made an impact on your life and why do you think mentorship is important in this community?

MJS: Thank you. I have been blessed to have several incredible young women come into my life. The mentorship really is mutual: the mentor gets mentored as well. Debra Goldblatt (founder of rock-it promo) was an amazing mentor and still continues to be an excellent resource. Derrick Chua (you all know him!) has been a long-standing theatre mentor and supporter of mine. Larissa Mair (casting director) provided me professional opportunities and support that gave me a leg up. My goal is to empower women via whatever opportunities and guidance I can provide. We are stronger working together to gain our rightful half of the pie.

HS: 100%! Thank you. Where do you look for inspiration?

MJS: I am inspired by great theatre, film and TV. I’m a news junkie, which also gets me riled up and can be a good source to fuel my fire. While I’m creating work, however, I find these sources can also stimulate my critical mind, which is not always helpful. Ideas seem to flourish best for me though music, yoga, art, reading and nature. These things still my restless mind and give me space to create.

HS: I love that balance. What is your favourite place in the city and why?

MJS: Parkdale. The mix of hipsters and refugees and fancy families and Tibetan monks, encompasses the diversity that is the life source of Toronto. There are also tons of good hang-out spots and it’s close to the lake.

HS: Please describe the show in 5-10 words.

MJS: Harrowing reveal of one woman’s escape from sex-slavery

Lela & Co

Written by Cordelia Lynn
Produced by Discord and Din Theatre in association with Seventh Stage Productions
Director: Melissa-Jane Shaw
Performed by: Jenna Harris & Graham Cuthbertson
Scenographer: Claire Hill
Lighting Designer: Jazz Kamal
Sound Designer: Verne Good
Associate Producer and Educational Coordinator: Brittany Kay

First produced in 2015 at the Royal Court Theatre in London, Lela & Co. is a timely and gut-wrenching play about women’s worth in a capitalist world.

Based on a true story, Lela & Co. gives space for a woman to be able to tell her story of being brought into sex trafficking by her husband during a time of war. Starting off as a seemingly innocuous telling by Lela of her childhood, Lela & Co. dives headfirst into this while also exploring “truth” in storytelling, who gets to tell whose story, and the resiliency of the human spirit.

The Theatre Centre BMO Incubator
1115 Queen Street West

September 21st-October 8th, 2017

$15-$30, PWYC Sundays (additional high school student and group pricing) or by calling 416.538.0988

t: @MJShawB @DiscordandDin @seventh_stage #LelaCoTO

Artist Profile: Jenna Harris of “This is Where We Live” at the 2015 SummerWorks Festival

Interview by Brittany Kay

My theatre crush on Jenna Harris started out when I saw “Mine” at this past year’s Next Stage Festival. Her work in this year’s Fringe Festival in ­”there/Gone” was uniquely engaging and unlike anything I’ve ever seen before. My level of respect and admiration for this artist is at an all time high and that’s why it was an extreme honour to sit down and talk with Jenna about her SummerWorks show, “This is Where We Live”. We talked about the Toronto theatre community, creating your own work and finding inspiration in the world around you. 

Brittany Kay: Tell me about the play.

Jenna Harris: It’s an Australian play, written by Vancouver born playwright Vivienne Walshe. She lived here until she was 10, then moved to Australia and has been in LA for the last little while. It’s a play set in the middle of nowhere about two teenagers [Chloe and Chris], both of whom are not from there. It focuses on Chloe, who’s recently moved in with her mom and her mom’s boyfriend and so she’s figuring out her life there. It’s quite dark – it looks at both of their outcast lives and what they’re dealing with at home and a little bit with how they see the world for themselves…their disparate views of fantasy versus reality and how their life will unfold. It’s gorgeously poetic in the most beautiful way, talking about some really heart wrenching and very dark themes. These characters tell their stories through their eyes- you see the other people through their perspectives and thus they end up playing the different people.

BK: It’s just a two hander?

JH: Yes. They take on and play the different characters in their lives. It’s loosely based on the myth of Orpheus. So Chloe is Eurydice stuck in this small town hell, in which sees as an underworld. She kind of conjures Chris to come and save her maybe, but there’s some kind of connection there.

BK: How do you move from one character to the next?

JH: It’s an interesting thing because the characters are from the main characters’ perspective. So some of the characters overlap. The teacher in their school is Tim’s character’s dad. We both have slightly different views on who this dad is, but that it’s similar enough for the audience to get. So it’s playing with that. It’s a combination of physicality and voice and it happens really quickly. Sometimes it’s one word to the next.

BK: Have you been able to find your own nuances and make you own choices with a script that’s already there?

JH: We’ve done a decent amount of movement work, which has definitely made things our own. Because it is a bit like performing a poem or spoken word, there are certain things you can’t break out of due to the rhythm. But within that, there has been lots of room to play.

Photo by Dahlia Katz

Photo by Dahlia Katz

BK: Your company, Discord and Din is producing it? What has it been like wearing both hats as actor and producer?

JH: It’s been interesting. For the production of Mine, [Next Stage Festival 2015] it was still my company but I wasn’t the producer on it, which was a good idea. For this one, there have been moments where there are only so many hours in the day, it’s what do you chose to do – whether it’s split 50/50 working on the show or working on the text and the acting.

BK: Like memorizing your lines…

JH: Ya, you know that… or in this case, dialect. Or whether it’s actually working on the production side. Time will tell with the show how the producing goes around. We have a really great team. We started the process as early as you know with SummerWorks. It’s almost the same design team I worked with on Next Stage so having that ability to communicate is great. It seems to have all come together.

BK: How did Discord and Din come to be?

JH: I put together this company as you end up doing when you want to put up a show. I didn’t go to school in Toronto, so when I first moved it was knowing nobody and figuring out how to negotiate and understand the business here and the people who are here. I think after a few years of being here, I decided that it was actually doable. It’s a lot trickier in New York, where I trained, to be able to put up a show. So I put together this company and the name is from a movie that I loved as a kid called the Phantom Tollbooth. It’s about this boy who’s very bored and this present arrives on his doorstep (I think the movie’s from the 70s, my aunt showed it to me) and this box opens up and it’s this car that takes him out of his boredom and into this animated world. There’s a doctor in it named Doctor Discord and he has this character with him, Din. It’s about all sounds and noises. I liked the idea of sound and noise and it doesn’t always necessarily go together, but it makes something beautiful, hopefully. That’s where that came from and shortly after, my friend wrote a show that I co-produced with her. SummerWorks used to have a performance gallery and I did something there. The company was on the backburner for a bit as other things were going on and recently it surfaced. I think I have a better sense of what I want to produce with it and the type of work I connect with. I just started to figure out more and more as time goes on what that mission is, for lack of a better word.

Photo by Dahlia Katz

Photo by Dahlia Katz

BK: How did you find this play?

JH: When I have time – which is not right now – I like to read as many plays as humanly possible. Sometimes I’ll try and go through places in the world. It gets trickier when you get away from the English language countries, but at one moment I went, “Oh I don’t know anything about Australia.” I know nothing about their theatre scene. I don’t know what they’re producing. And given that we’re not altogether dissimilar as countries, in terms of coming from the British Commonwealth, I was really curious what they do there and how their system works. There happens to be a website called and it’s a huge database of plays where you can read excerpts and get a membership. I read a bunch of them and I came to this one and I kind of just went “yes”. I didn’t fully understand it at the time, but I knew there was something there.

BK: So, is this a North American premiere?

JH: It’s been done before but her work has never been shown in Canada. It’s her coming home debut, which is great. I found it very fascinating that out of all of the plays I read, it was one that was written by someone who is still a Canadian citizen and who was born here.

BK: Tell me a little bit about working with your director Taryn Jorgenson?

JH: Taryn I met several years ago when she was bartending. I found out she was a director and the way we talked about theatre was quite similar. It was really nice to sit down and have similar conversations. Having that same sort of excitement about the show has been great.

BK: What has it been like working with Tim Welham?

JH: It’s been great. I didn’t know him before. He and Taryn both graduated from Ryerson. He’s super lovely and open. It’s been very collaborative, as much as you can be with a script that’s already there.

BK: Talk to me about the playwright?

JH: We also have a dramaturg on this. There are things we couldn’t tell if they were Australian slang or language that she made up for the poetry of the piece. We needed someone else in the room to research and look those things up. We’ve been in dialogue with Vivienne – she’s asked a number of questions. I did too. She’s been great and available. She’s been excited and has been giving great feedback.

BK: What are some of the major themes or ideas in the piece? What do you want audiences walking away with?

JH: It is so much about these two characters that hopefully audiences will find another level of connection with them. The main one for me is the feeling of being an outsider. Neither of these characters feel like they’re a part of the world that they live in nor do they have any control whatsoever being teenagers. It’s their making the best of it and their coping strategies and how they both deal with that. Within that, it’s also about Chloe’s dissociation when things are not going right. What we do when we’re not feeling in control. It’s also the idea of home and friendship and love and how do we build that world for ourselves-not only in the moment but also in the future. I think both of them are trying to figure out where they want to be and where they see themselves being. It’s about the places where we live and where we grow up and how that affects how we go out into the world.

Photo by Dahlia Katz

Photo by Dahlia Katz

BK: Let’s shelf the play and move into your life. What has been your journey up until now?

JH: I was born and raised in Kingston I did very little theatre there. I grew up around theatre but primarily was a dancer. I would do theatre camps. I think, truthfully, I always wanted to be an actor or be in theatre, I was just afraid as a kid I wasn’t going to be good at it. In my final year of high school I kind of shelved the dancing because it was just too much. I knew I wasn’t going to do that for my life, so I kind of put that on hold and did a Midsummer Night’s Dream where I was a fairy that had to make up my own name.

Then I applied to University for Physics and Astronomy and got in and then freaked out because it wasn’t what I wanted to do. I took a year off and ended up doing a couple month program in the UK for acting, which was kind of my first concentrated acting program. And then came back and still didn’t think theatre was a viable option, obviously, and so did my undergrad in International Development and Anthropology at Wilfred Laurier. So that’s what I was going to go into with theatre somehow involved – theatre for social change, maybe? Laurier was tiny and so as soon as I got there the four theatre classes they had were canceled and disappeared, which I think worked to my advantage because I would audition for the fringe that happened there. It made it a safer environment to get in it and work. I did a show in my 3rd year, which was a two hander and it was kind of the first show where I went, “Oh I think I might actually be able to do something with this.” At the end of the year I applied for a couple schools in Toronto and a couple schools in New York and then told my parents. Then I went to New York to audition and ended up getting into a school there and deciding to go.

BK: What kind of program was it?

JH: It was a two-year theatre conservatory. New York was great. It’s amazing looking back realizing what you actually needed and for me, I think I needed to get away. I needed to be somewhere where I could completely fail and be in a new city where I knew no one and be completely overwhelmed. It’s theatre school – one day you’re on the top of the world and the next you’re bawling and the world is over.

BK: Yep, theatre school.

JH: Yes, so it’s a common experience for everyone. It was great and exhausting and then it came to the decision to stay or come back. I decided to come back for a number of reasons. So I arrived here not knowing anyone and not having any sense of who people were or how any of it worked. That took a bit of time to do that. I was fortunate enough that I got into a couple of small shows when I moved but quickly realized that I needed to find places where I fit.

There was a certain point where I was working at Buddies [in Bad Times Theatre] and surrounded by all of these artists but no one knew me to be an artist. I couldn’t go there and be like hire me as an actor, here’s my resume and now I’m going to go work front of house for your show, not that this is awkward at all and I’m not making it more awkward by talking about it.

So I went – okay, how do I do this? How do I build community and make connections with people?

In New York I started writing a bit because auditioning isn’t the most creative outlet. Here, I was writing more and finished a draft of a play and I had this idea for a monologue book. If I couldn’t give my stuff to other people, maybe I could solicit stuff. It was a combination of that, a Fringe show called Tick, and my decision to leave Buddies and move away from admin jobs to be an artist. It feels like in the last couple of years the foundation I started to foot when I came here now feels like there’s something actually going on.

Yeah, so there’s my really long-winded story.

BK: It’s fantastic. I find it very admirable – your perseverance to break into the Toronto theatre community. For people who are just trying to establish themselves in the theatre scene, do you have any advice?

JH: Being in the theatre is hard, regardless if you went to school here. For acting, when you do shows you naturally build that community but it is getting in there in order to do that. One of the big things that I learned which isn’t super tangible, is that having goals are great… you should absolutely have goals. In the going after them, my advice would be to stay open to anything else that is going to come your way. That doesn’t mean saying yes to everything. What theatre school does is focus you, whether that’s to focus on acting or playwriting. If your focus is too wide you’re probably going to flop around. The world isn’t quite that way. There are so many different options and so many grey areas. What it means to be an actor is so varied. It’s not necessarily one thing. The big advice is have those goals but allow yourself to be open to other possibilities and if it’s of interest, go for it. I would have never thought to become a playwright. In terms of building community – really try hard not to see it as a competition but that you’re all in it together. Do intensives or programs. Getting out there. Also trying stuff, even if it never sees the light of day. It’s bit by bit and then one day you wake up and everyone is there. What’s nice about the city is you can rent a small place and get a bunch of people together and do a small reading. Just create. Being around people that like doing stuff.

BK: Where do you find your inspiration?

JH: I like watching people. I like seeing how they interact. Sitting on a bench. I also find life really funny even at the darkest possible times and that humor is fascinating to me. What is it that makes us human is really interesting and finding ways to solidify and write that. It also comes from, sounds crazy but I’m not I swear, is hearing voices of characters and by that I mean dialogue. Sometimes that’s what starts it and I have no idea where it’s going to go.

Rapid Fire Round:

Favourite book: The Shadow of the Wind

Favourite TV show: 30 Rock

Favourite play: August Osage County

Favourite food: Anything chocolate

Favourite place in Toronto: Anything by the water.

Best advice you’ve ever gotten: Never settle.

This is Where We Live

presented by Discord and Din as part of the 2015 SummerWorks Performance Festival


Where: Theatre Passe Muraille Backspace

Ticket Price: $15

Run Time: 75min

When: Wednesday August 12th 7:30 PM – 8:45 PM
Thursday August 13th 9:45 PM – 11:00 PM
Sunday August 16th 7:45 PM – 9:00 PM

About: Discord and Din Theatre

Directed by Taryn Jorgenson; Written by Vivienne Walshe; Dramaturged by Emma Mackenzie Hillier; Performed by Jenna Harris and Tim Welham; Lighting Design by Adrien Whan; Set and Costume Design by Jenna McCutchen; Sound Design by Alicia Porter; Stage Managed by Laura Paduch; Produced by Discord and Din Theatre

In Conversation with Jenna Harris – Playwright & Performer of “Mine” at the NSTF

Interview by Hallie Seline

It’s January. It’s cold. But if there is one thing to make this bleary month bearable, it is the excitement for The Next Stage Theatre Festival, a curated festival from The Toronto Fringe which provides past participants the opportunity to take their work “to the next level”. It is a great chance for artists to dig deeper into their projects and for audiences to see a variety of indie work and be introduced to new artists in between trips to the heated beer tent where you can connect with friends old and new and discuss the work over a local brew.

I had the pleasure of chatting with Jenna Harris, playwright/performer of Mine playing in the Factory Theatre Studio Space. We discussed the benefits of wearing many hats in the theatre world, playing with form and poetry, where she looks for inspiration, and the need to produce more work featuring the lesbian voice and authentic female sexuality. 

HS: Tell us a bit about yourself.

JH: I am an actor, writer/creator, arts educator and dancer (although formerly!), and the Founder and Artistic Director of Discord and Din Theatre. I am also a member of the [elephants] collective, a devised theatre collective. Originally from Kingston, Ontario, I went to acting school at The American Academy of Dramatic Arts (NY) before moving to Toronto.

HS: You wear a lot of hats in the theatre world. Can you speak about the benefits of this and what you’ve learned because of your experience?

JH: Absolutely! I am currently the Interim General Manager of Studio 180 Theatre, and was once the Assistant Box Office Manager at Buddies in Bad Times Theatre. These two jobs, have been invaluable in teaching me the skills required, as well as the confidence, to self-produce.

Producing was not something that was taught to us or even spoken about when I went to acting school, so I never thought that would be something I would end up doing. But after moving to Toronto and seeing what a vibrant indie theatre scene existed here, and that it was possible to self-produce if you have the knowledge and skills to do so, I really wanted to learn as much as I could to create opportunities for myself and to get my work out there.

HS: Talk to us about Mine and why you wanted to put this story out in the world? 

JH: Mine is the story of the relationship between Bea and Abigail who meet when Bea is an undergrad and Abigail is her T.A. It is a story of joy, laughter, desire, miscommunication, sex, sadness, vulnerability, anger, lust, humour, growth, fear and love.

There are sort of three components to the story that, when I first started writing it, I wanted to tackle. The first one was that I was interested in musing on relationships: why they work, why they don’t, what it feels like to be in them…love, conflicts, power dynamics… And with this, the second one was, more specifically, that I wanted the relationship to be a lesbian one; not about being in a lesbian relationship, but simply about one. It’s a mystery to me why lesbian voices are not as numerous on Toronto stages as I feel they should be, given the strong lesbian presence in the theatre community and in the city as a whole. Lastly, I was interested in writing a play that paid homage in some small way to female sexuality – something that I also feel is lacking in theatre in an authentic and relatable way.

Michelle Polak and Jenna Harris in Mine

Michelle Polak and Jenna Harris in Mine

HS: Can you speak about your use of poetry in Mine and a bit about the play’s structure?  

JH: The role of poetry in this play is interesting, for me at least, because it wasn’t anything that I had planned to do. I didn’t start out by saying, “I would like to feature poetry in this piece”. It more just happened.

I am very interested in language and how we use language, particularly patterns of speech – the poetic rhythms of natural and not-so-natural speech. So this is where I first started. But then I guess I moved on to questions such as: What makes poetry/a poem? What is it about certain words or the way in which they are strung together that makes us feel things versus times when we don’t? And what does it mean when we can say things in a structured format like poetry or playwriting for that matter that we can’t in real life?

And so it was these questions as a playwright, coupled with the fact that Mine isn’t linear that I was interested to see how the theme of poetry, as well as poetry itself, could tie this play together and help to extenuate the journey of this relationship.

HS: Why do you think festivals like the NSTF are important for the Toronto arts community and Toronto as a whole?

JH: I think that festivals like NSTF provide an opportunity for artists to put their work out there in an extremely supportive environment where, not only is there the opportunity to continue to gain skills in self-producing, but also, because of the support of the Toronto Fringe, you are able to really focus attention on the art being created. This is a huge luxury.

Furthermore, NSTF creates a physical space, a hub, for artists to be able to come together and meet one another, and share and get excited about what is being created in our city, whether that’s a NSTF show or something else. Having this space and opportunity to interact with one another, and in solidarity brave the freezing winter to do so really bonds us as a community.

In terms of Toronto as a whole, I think NSTF is a chance to see work that might not be seen otherwise, or if it is, may go under the radar. Also, with the festival setting, I think people are more likely to come to one show and then maybe stay for another, see something they might not see otherwise, again exposing them to new work and artists.

Jenna Harris and Michelle Polak from Mine.

Jenna Harris and Michelle Polak from Mine.

HS: Where do you look for inspiration? 

JH: Hmmm… I think content inspiration for me usually comes from things that I find fascinating in the world or that I have questions about. I am particularly interested in the personal and the interpersonal; what makes us tick as people, as well as the ways in which we as people interact with each other and the world around us.

As for aesthetic and writing style/structure, inspiration for this has come from constantly reading plays from all over the world, but also going out and seeing theatre and other types of performance. I love being inspired by the work of others, whether that inspires me to try something new in my writing, or pushes me to risk more.

HS: What is your favourite part about the NSTF tent? 

JH: My favourite part of the NSTF tent is the atmosphere. There is so much energy and excitement in one place, you can’t help but be swept up by it. Even on our opening when it was -30, people were in the tent chatting with one another and getting revved-up to see shows. As a theatre artist, this is essentially heaven!

HS: If you could have your audience listen to a song or playlist before seeing the show, what would it be? 

JH: Oooo…good question! Well, a song that our Director Clinton Walker had us listen to was Pentatonix’s Run to You. Although I would maybe say listen to it after the show as opposed to prior to. I would say listen to something before that you love and that makes you want to get up and dance because who doesn’t love to dance?

**No cheating… listen to this after you see the show:

HS: Describe Mine in 5-10 words.

JH: Mine is about what it means to love someone.

HS: What’s another NSTF show that you are most excited about?

JH: Okay, so I’m going to be that person who answers this way: I’m excited to see all of them!

I am, actually. I’m looking forward to seeing what the other companies have been working on the past few months as we’ve been working on Mine, how diverse the shows are, and the passion with which these companies are putting their works out there.


by Jenna Harris, presented by Discord and Din Theatre as part of the Toronto Fringe’s Next Stage Theatre Festival


A bar, two strangers and a Fuzzy Navel. Mine is a rhapsodic odyssey of love, loss, laughter and the lives of two women as they build a relationship together. Composed within a haunting and sensual rhythm, this is a play that speaks to our desire and desperation to be understood, valued and loved. Our human need to belong.

Tickets: $15 – Buy here.

Connect: Discord and Din Theatre @DiscordandDin

Where: Factory Theatre Studio (125 Bathurst St.)

Length: 60 mins

Playwright Jenna Harris
Director Clinton Walker
Featuring Jenna Harris, Michelle Polak
Sound Designer Lyon Smith
Lighting Designer Adrien Whan
Dramaturge Clinton Walker
Producer Emma Mackenzie Hillier
Stage Manager Christopher Douglas


Wed Jan 7 – 6:30pm
Thu Jan 8 – 9:00pm
Sat Jan 10 – 8:45pm
Sun Jan 11 – 5:00pm
Mon Jan 12 – 7:15pm – followed by a Talkback at The Hoxton
Wed Jan 14 – 8:30pm
Fri Jan 16 – 4:45pm
Sat Jan 17 – 2:45pm
Sun Jan 18 – 4:00pm