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by Claire Ross Dunn

Dramaturged by: Beverley Cooper

This will be a closed session reading

Play Synopsis

When small-town Daffodil slips on a cow patty and bonks her head, she starts to see Elvis, much to cosmopolitan Ivy’s consternation, who has big-city plans that don’t include her dotty sister, rural Ontario, Elvis, or cow patties. Grapeland is about the need for big problems – whether they be familial, romantic, or concerning the precariousness of rural life – to be solved with equally big leaps of faith. And hopefully those leaps are nowhere near a cow patty.

About The Playwright

Claire Ross Dunn works as a writer, story editor and producer for film, TV and theatre. For TV, credits include Make It Pop (Nickleodeon); Good Witch (Hallmark); Wingin’ It (Family, Disney XD, BBC, earning her a Canadian Screen Award Nomination for Best Writing); Little Mosque on the Prairie (CBC); Degrassi (CTV/Teen Nick (earning The Alliance for Children and Television Award for Excellence); Nina’s World (NBC Universal Kids); Anne of Green Gables, the Animated Series; The Smart Woman Survival Guide.  For theatre: The Women of Casterbridge, workshopped in 2018’s Ergo Pink Fest; The Knitting Pilgrim, co-written with Kirk Dunn for a 2019 tour by Ergo Arts Theatre. Publishing: The Gymnastics Book: A Young Person’s Guide to Gymnastics, co-written with gymnast/past NBC commentator Elfi Schlegel. Claire attended York University for Theatre Performance, and, later, the Canadian Film Centre, as a writer resident.

Claire Ross Dunn is a member of the Playwrights Guild of Canada.


Monkey Wrench

by Shelley M. HobbS

A Staged Reading

Friday, March 29    7:00pm

Dramaturged by: Marcia Johnson

Directed by: Chantal Forde

Performed by: Gina Clayton*, Deborah Drakeford*, Marcia Johnson*, Daniel Karasik*, Kate Werneberg*,

Play Synopsis

Vic and their ne’er-do-well cousin Dawn embark on a mission to rescue Vic’s Mom from Vic’s abusive Dad. Aided and abetted by the town's fiercest ladies, the cousins' efforts culminate in a confrontation at the family farm involving fabric, feral pigs, and metal Creatures of Doom.

About the Playwright

Shelley M. Hobbs is a cis-gendered, hearing-impaired, lesbian cancer survivor who plays hockey.   She writes plays about isolation, the edge of emotional survival, and the importance of chosen family. Shelley is thrilled to work, once again, with the enormously talented and supportive people of Ergo Pink Fest!  

Shelley’s previous works include: The Sister Op (Selected for Ergo Pink Fest, Toronto, Ontario March 2018); A Good Death (Also Known As Theatre, Boston, MA August 2018) (CoolMegs Productions: 2016 Toronto Fringe Festival) Smore (Pride Films & Plays' History Lezons Festival, Chicago, ILL,  March, 2018); Happy Family (Other Life Productions, 2017 Toronto Fringe Festival); Hipcheck: the Musical, co-created with Rob Torr (Torrent Productions: 2009 Toronto Fringe Festival)  Shelley is a proud member of the Playwright’s Guild of Canada.  As always, she thanks her Beloved, Joan Jamieson, who makes everything possible.



by Kai Taddei

A Staged Reading

Friday, March 29    9:00pm

Dramaturged and Directed by: Paula Wing*

Performed by: Aisha Evelyna, April Leung, River Oliveira and Elia Pappas

Play Synopsis

Seventeen-year old Kat has just decided to become a Satanist. Meanwhile, her cousin Eli is trying to find a way to come out as transgender to his strictly Roman Catholic Italian family. When Kat's attempts at ally-ship land Eli in serious trouble, both cousins are left to ask: how do we juggle multiple conflicting identities? Is it even possible?

About the Playwright

Kai Taddei (pronouns: they/them/theirs) is an Italian-Canadian transgender playwright, performer, director, and educator, originally from the unceded territories of the Lekwungen-speaking and SENĆOŦEN-speaking peoples (Victoria, BC). They are an MFA candidate in Creative Writing at the University of Guelph, and hold a BFA in Creative Writing from the University of Victoria. Kai’s work has been presented by Ruby Slippers (Advance Theatre Festival, 2018), Theatre SKAM (Skampede Festival, 2018), Intrepid Theatre (OUTstages Festival, 2015/18), and The Belfry (SPARK Festival, 2017/18), among others. Kai is also two-time recipient of the Victoria Fringe Festival’s “Favourite New Play” award for their writing. Currently, Kai has four works in development, including a new script exploring trauma and night terrors as a part of the Belfry Theatre’s Incubator program, and a Trans take on Cinderella in collaboration with musical theatre creator Avery Jean Brennan and producer/director Lora Campbell. Connect with Kai on Instagram at kai.writes.stuff, Twitter @KaiTaddei, or on their website,

Kai Taddei is a member of the Playwrights Guild of Canada.


How I Became a tramp

By Vicki Zhang

A Staged Reading

Saturday, March 30  2:00 pm

Dramaturged by: Marcia Johnson

Directed by: Susan A. Lock*

Performed by: Shiong En Chan*, Shuyi Jia, Steph Jung*, Nam Nguyen, Richard Tse*

Play Synopsis

Cuicui, a young woman born into Confucius' hometown, contends with traditional womanhood. With lofty career aspirations, she strives for success until an arranged marriage and a philanderer send her into a downward spiral.

About the Playwright

Vicki Zhang’s ten-minute play The Male Root won the 8th InspiraTO Festival’s juried playwriting competition. Her play Oracle Jane was selected for production at Toronto Alumnae Theatre’s 30th New Ideas Festival and received a public staged reading at Winnipeg’s 16thFemFest. Her plays have also received staged readings at InspiraTO festival, Toronto’s Festival of Original Theatre (FOOT), Asper Center for Theatre and Film, and University of Toronto’s Centre for Drama. She is the author of a non-fiction book Uncalculated Risks (Canadian Scholar’s Press, 2014), which was nominated for a Myrdal Prize. She has also written essays and short fiction about the Chinese diaspora for Rookie Magazine and Theread. Vicki is very excited to share her new play How I Became a Tramp with the world at Ergo Pink Festival. This play is a runner-up at 2019 Hamilton Fringe Festival New Play Contest.



by Kit Mckeown

Saturday, March 30     4:00 pm

A Staged Reading

Dramaturged by: Beverley Cooper

Directed by: Courtney Ch’ng Lancaster*

Performed by: Catherine Fitch*

Play Synopsis

“1916. Hot, dry Tennessee. My name is Mary and I am accused of murder.

I am an elephant.”

Mary has grown up in the circus and always loved performing. When an incident during a parade lands her chained up next to the county jail, she must reconsider her understanding of herself and all she knows. Mighty is a one-woman show based on a true story about power, loss, memory, and rage. 

About the Playwright

Kit McKeown is a Vancouver-born queer non-binary theatre artist and recent graduate of Concordia University’s Theatre Performance Specialization program (BFA). Recent theatre credits include Shadow/Presence (Concordia University) a collaborative creation directed by Clea Minaker and V-Cards (Concordia University). They are a current student in UBC’s Creative Writing Program and their poems have been published in Bad Nudes and The Void. Their first produced theatre piece, Breather, premiered in Brave New Play Rites in Vancouver earlier this month. Mighty is their second produced theatre piece. They are most interested in projects that emphasize queer voices and experiences and hope to influence the expansion of queer representation in theatre. They believe the theatre canon is currently lacking in roles and spaces for trans and non-binary individuals, and roles that demand more of an actor than simply filling a template. They hope to continue to write these roles.



by Caitie Graham

A Staged Reading

Saturday, March 30   8:30pm

Dramaturged by: Elyne Quan

Directed by: Lisa Karen Cox*

With: Athena Kaitlin Trinh, JD Leslie, Tony Ofori*

Play Synopsis

Cata wakes up with an angry tattoo on her leg. When the memory of everyone involved is clouded by drinking, denial, or desire, whose version of the truth is Cata supposed to believe? GASH is a fierce exploration of a young girl's sexuality, an act of violence that devastates a friendship, and the question; can truth be subjective?

About the Playwright

Caitie is a playwright, dramaturg, and arts educator in Toronto whose writing work explores divisive content through character driven narratives. Since completing her BFA in Performance at Ryerson Theatre School, she has led a variety of playwriting workshops across the GTA for children and young adults through organizations like Expect Theatre (Assistant Facilitator, KidCAST); Scarborough Arts (Facilitator, Scarborough Arts/Tarragon Theatre Playwriting Project); and Ryerson University (Creative Writing Instructor, Teen Acting Academy 2014/2015). She is currently Co-Director of the Young Playwrights Unit at Tarragon Theatre, where her first play was developed in 2013. Select writing credits include Paradise Comics (originally presented as part of the 2014 New Voices Festival, then remounted in 2016 for Filament Incubator’s inaugural season); pose ball (Alumnae Theatre’s 2016 New Ideas Festival, and Tarragon Theatre’s Live Wires Series 2016); and GASH (Alumnae Theatre’s 2017 Fireworks Festival). She is also a running-up recipient of the 2018 Ellen Ross Stuart Award. Caitie is thrilled to be adapting GASH for a young audience during her time with Ergo Arts Theatre this Spring, and can’t wait to enjoy the work presented at Pink Fest!

Caitie Graham is a member of the Playwrights Guild of Canada.


Geologic Formations

by mia susan amir

A Staged Reading

Sunday, March 31 6:30 pm

Directed and Dramaturged by: Anita La Selva*

With: Lilia Leon, Kate Gordon*, Jajube Mandiela, Julie Tepperman*, Erica May Wood*

Play Synopsis

Melding intimate personal narrative, cognitive neuroscience, documentary research, and the absurd, Geologic Formations is a transdisciplinary performance work exploring the present-unseen.

When Bricks finds photos in her Saba’s album documenting Jewish life in Białystok, Poland, following the defeat of the Nazis, she undertakes a journey that crosses and collapses time and geography, to talk to ghosts, to decode what shapes our perceptions, uncovering the way socio-political events haunt and shape the individual and collective body.

Historically inspired, Geologic Formations is a response to the contemporary rise of fascism.

About the Playwright

mia susan amir (she/her/hers) was born in Israel/Occupied Palestine. She is a queer, Crip+Mad Jew of mixed Ashkenazi and Sephardic ascent who lives and works as an uninvited settler on the unceded and occupied territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and səl̓ílwətaʔɬ/Selilwitulh (Tsleil-Waututh) Nations otherwise known as, Vancouver, BC.

mia works at the intersection of creative and community practice as an educator, cultural organizer, advocate, writer, director, dramaturg, and theatre artist creating immersive, transdisciplinary works. 

Select works include, Geologic Formations (rEvolver, FestivALT); Obscura Lucida: The Land of My Body, created with T’uy’tanat-Cease Wyss (Vines Arts Festival); Across the Salty Waters (Feminist Art Conference); Transmissions: Bodies/Echoes/Ash (Grin City Collective, Allied Media Conference); The Map to Zochrot (Neworld Theatre Sista’hood). Current collaborations include, The time it takes me to get to you (Subjects of History) the earth, that is sufficient (The Welders), Forever Shelter, with Angela Chalmers, and A Vista (Fight With a Stick). mia’s work has been developed with the support of the Banff Playwrights Lab, the Canada Council for the Arts, the City of Vancouver Office of Cultural Affairs, among others. 

Recent credits include dramaturgy on: Lame Is… (Sick + Twisted Theatre), Burqa Boutique (Killjoy), Wyspa (The Only Animal), and Umizoko (The Only Animal); and dramaturgy and direction on, Setting Bones, (PTC/Kalik/Vancouver Fringe), and Saving Mother (Vines Arts Festival, The Only Animal).

mia’s writing/thinking has appeared on HowlRound, SpiderWebShow, Lemon Hound, Digging Through the Fat, and in Sustenance: An Anthology of Writers from B.C. and Beyond on the Subject of Food, Anvil Press. 

mia is the recipient of a 2018 LMDA Bly Creative Fellowship for her project Unsettling Dramaturgy: Crip & Indigenous Process Design in the Studio, on the Stage, and in the Street. She is the Dramaturgy Research Associate at PTC, the Artist in Residence at Fight With a Stick and What Lab, the Co-Coordinator of Unsettling Dramaturgy, a member of LMDA, IFTR, and PGC, and the Board Chair of All Bodies Dance.

mia susan amir is a member of the Playwrights Guild of Canada.


Between a Wok and a Hot Pot

by Amanda Lin

A Staged Reading

Sunday, March 31    8:30 pm

Dramaturged by: Elyne Quan

Directed by: Marjorie Chan*

Performed by: Amanda Lin and Kenzie Tsang

Workshopped with April Leung

About the Play

Bubble tea. Kimchi. Hot pot. It’s cool to be Asian right now. While serving a hot pot dinner to her audience, Amanda reminisces on when it wasn’t so cool to be Asian, and delves into the complicated topic of identity and cultural appropriation in food and art.

About the PLaywright

Amanda Lin is an emerging Taiwanese-Canadian theatre artist who specializes in direction, writing, performance, and marketing/outreach. She is a recent graduate of Queen’s University, where she studied social psychology, theatre, and business, with her area of research centring on attitudes and social influence. She is particularly interested in creating accessible and inclusive theatre, focused on providing a platform for underrepresented people and stories.

Director: The Vic (5th Company Lane), Anon(ymous) (Queen's Vagabond), In This World (Juvenis Festival and Theatre Count). Performer: Like Mother, Like Daughter (Why Not Theatre, Koffler Arts, and Complicite), Between a Wok and a Hot Pot (Theatre Count and GLO Collective), The Team (Thousand Islands Playhouse), Rhinoceros, or What's Different About Me (Chipped Off Performance Collective), Macbeth (Dan School of Drama and Music). In early 2018, Amanda began writing her first stage play, Between a Wok and a Hot Pot, as a means of exploring her identity as a second-generation immigrant as it pertains to food and theatre. Amanda is currently a participant in Nightwood Theatre's 2018-2019 Young Innovators Program and fu-GEN Asian Canadian Theatre Company’s 16th Kitchen Creators Unit. Visit her online at

*The participation of these Artists is arranged by permission of Canadian Actors’ Equity Association under the provisions of the Dance•Opera•Theatre Policy.

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