Ideas about Black women: how can art shift perspectives?
Tuesday, November 24, 2026 7 p.m. – 9 p.m. | Black Healing Centre
Community discussion with the University of the Streets Café
What happens when we create stories that are outside of our experience? Or when we’re creating stories that reflect our experience but are for audiences that do not share our cultural, economic, or racial background?
Art, theatre, storytelling, and literature are all means through which we tell and share stories. They are bridge builders that allow us to connect across difference and understand perspectives that mirror or expand our own. The bridges become complicated when the subjects of stories do not see themselves represented by the experiences being told about them.
Building from experience at the Black Theatre Workshop and other experiences of representation in art and culture, we’ll come together to discuss how women, specifically Black women, are perceived and created through art in its various mediums.
Join us to explore how stereotypes are constructed, reconstructed, and unmade through art. Whose perspectives get highlighted through artistic creation? How are stories created and told? In what ways can we create and tell stories outside of our own perspectives?
Guests: Samia Dumais & Teeanna Munro
Moderator: Dian Marie Bridge
About University of the Streets Café
As a flagship program of Concordia University’s Office of Community Engagement, the public bilingual conversations are free and open to participants of all ages, backgrounds and levels of education. Since its inception in 2003, University of the Streets Café has hosted over 500 bilingual public conversations.
Follow the University of the Streets Café on Facebook or visit them at concordia.ca/univcafe to learn more about their programming and last-minute scheduling updates.
The Exchange Pre-show Conversation and The Salon Reading Series
“At the Montreal reading of Slave Play on October 24, audience members were laughing, clapping and even interjecting. […] Beneath the comedy, of course, the weight of the subject matter endures.”
– Amihan del Rosario-Tapan, The McGill Daily
Read the full review of Slave Play
“Black women have long been described as the backbone of their communities. They organize, nurture, advocate and sustain. But what happens when the backbone becomes exhausted? And who is expected to carry the women who have spent their lives carrying everyone else? The play does not offer convenient answers. Instead, it places those questions before the audience.”
– Rosie Awori, Montreal Community Contact
Read the full review of The Other Side of the Game
“Our audiences were not prepared, in some instances, for how emotional and how full the readings would be.”
– Dian Marie Bridge on CBC Daybreak Montreal with Sean Henry
The Negroes are Congregating
April 2-4 & 9-11, 2027 | MAI Café
By Natasha Adriyana Morris
Directed by Diane Roberts
Montreal Premiere Workshop Reading
In April 2027, BTW’s Salon Reading Series will be back, bringing Natasha Adiyana Morris’s The Negroes Are Congregating to the MAI cafe. Blending spoken word, satire, and sharp-witted social commentary, this acclaimed work confronts anti-Black racism, internalized self-hatred, identity, and the question of what it means to be Black in Canada and beyond.
All events are Pay-What-You-Can online or at the door.
Tous les événements sont à prix libre.
Slave Play
22/10/2026 & 24/10/2026 | Studio
By Jeremy O. Harris
Directed by Diane Roberts
Montreal Premiere Workshop Reading
Daring, unforgettable, and controversial, Slave Play hits audiences with the weight of history carried in everyday sexuality. It focuses on the experiences of Black partners in interracial couples as they grapple with the trauma and legacy of American slavery, in this case through highly unusual therapeutic methods.
WARNING
This play is intended for audiences 18 years and over.
Slave Play is explicit in its use of:
- Racial slurs and racist language
- Sexual violence
- Explicit slavery and historical trauma role-play
- Graphic sexual content
- Intense emotional and psychologically challenging themes
SLAVE PLAY is presented by special arrangement with Samuel French, Inc., a Concord Theatricals Company.
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22 et 24 octobre 2026 | Studio
De Jeremy O. Harris
Mise en scène : Diane Roberts
Première à Montréal : Lecture atelier
Audacieuse, inoubliable et controversée, Slave Play confronte le public au poids de l’histoire inscrite dans la sexualité quotidienne. La pièce explore le vécu des partenaires noirs au sein de couples interraciaux, confrontés au traumatisme et à l’héritage de l’esclavage américain, ici à travers des méthodes thérapeutiques pour le moins originales.
AVERTISSEMENT
Cette pièce est déconseillée aux moins de 18 ans. Slave Play fait expressément usage: d’un langage avec des insultes racistes et des termes un injurieux, d’agressions seoriginales, de jeux de rôles sur l’esclavage et les traumatismes historiques, du contenu sexuel, des thèmes éprouvants émotionnellement et psychologiquement.
SLAVE PLAY est présenté en accord avec Samuel French, Inc., une compagnie de Concord Theatricals. www.concordtheatricals.com
** Original Broadway Production Produced by Seaview Productions, Troy Carter, Level Forward, Nine Stories Sing Out Louise! Cohen Hopkins Productions Thomas Laub Blair Russell Salmira Katler Productions WEB Productions OHenry Productions Jeremy O. Harris Mark Shacket, Executive Producer and New York Theater Workshop
Slave Play received its world premiere at the New York Theatre Workshop on December 9, 2018, Jim Nicola, Artistic Director, Jeremy Blocker, Managing Director.
Slave Play was developed during a residency at the Eugene O’Neill Theatre Center’s National Playwrights Conference in 2018 Preston Whiteway, Executive Director Wendy C. Goldberg, Artistic Director.
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** Production originale de Broadway : Seaview Productions, Troy Carter, Level Forward, Nine Stories et Sing Out Louise! Cohen Hopkins Productions, Thomas Laub, Blair Russell, Salmira Katler Productions, WEB Productions, OHenry Productions, Jeremy O. Harris, Mark Shacket (producteur exécutif) et New York Theatre Workshop
La pièce « Slave Play » a été créée au New York Theatre Workshop le 9 décembre 2018. Jim Nicola (directeur artistique), Jeremy Blocker (directeur général)
« Slave Play » a été développé lors d’une résidence à la Conférence nationale des dramaturges du Eugene O’Neill Theatre Center en 2018. Preston Whiteway (directeur général), Wendy C. Goldberg (directrice artistique)
In partnership with Concordia University’s Office of Community Engagement: University of the Streets Cafe.
On October 22, don’t miss the pre-show University of the Streets Cafe held in the lower lobby of the Segal. In partnership with Concordia University’s Office of Community Engagement, we are hosting a conversation around themes of Interracial dating, the objectification of Black bodies, and holding space for the nuances of language and culture on identity. The pre-show conversation starts at 5:30 before the opening night’s reading, with guest speaker Shirlette Wint, a psychotherapist, clinical social worker, researcher, and cultural consultant, BTW Artistic Director Dian Marie Bridge, and Concordia University’s Kristen Young. This pre-show conversation will be catered by Lloydie’s, a highly regarded Caribbean restaurant in the area.
22/10/2026, 7pm: Play reading
24/10/2026, 2:30pm: Matinee play reading, followed by a Q&A with the director, actors, and BTW team
24/10/2026, 7pm: Play reading, followed by a Q&A with the director, actors, and BTW team
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Le 22 octobre, ne manquez pas le café-débat « University of the Streets » qui se tiendra dans le hall inférieur du Segal, avant le spectacle. En partenariat avec le Bureau de l’engagement communautaire de l’Université Concordia, nous organisons une discussion autour des thèmes suivants : les relations amoureuses interraciales, l’objectivation des corps noirs et l’importance de prendre en compte les nuances du langage et de la culture dans la construction de l’identité.
Cette discussion débutera à 17 h 30, avant la lecture du soir d’ouverture, en présence de Shirlette Wint, psychothérapeute, travailleuse sociale clinicienne, chercheuse et consultante culturelle, de Dian Marie Bridge, directrice artistique de BTW, et de Kristen Young, de l’Université Concordia. Le repas sera préparé par Lloydie’s, un restaurant caribéen réputé du quartier.
22/10/2026, 19 h : Lecture de la pièce
24/10/2026, 14h30 : Lecture de la pièce en matinée, suivie d’une séance de questions-réponses avec le metteur en scène, les acteurs et l’équipe de BTW
24 octobre 2026, 19 h : Lecture de la pièce, suivie d’une séance de questions-réponses avec le metteur en scène, les acteurs et l’équipe de BTW
Thursday Evening
(via Zeffy)
Saturday Matinee and Evening Tickets
(via Segal Centre)
Cast & Crew
Alexandra Laferrière
as Kaneisha
Alexandra Laferrière (she/her/elle) is Dora Mavor Moore winning actor, performer, and creator based in Montreal. She is a graduate of John Abbott College’s professional theatre program and participated in Black Theatre Workshop’s Artist Mentorship Program. Select theatre credits include: Baobab (Théâtre Motus), Sinkhole (or six ways to disappear) (Infinitheatre), Taking Care of Maman (Black Theatre Workshop & Roseneath Theatre), Dominoes at the Crossroads (Infinitheatre), Camille: The Story (Au-delà du visuel), Virginia Wolf (Geordie Theatre), Simone, Half & Half (Black Theatre Workshop), The West Woods (Mulgrave Road Theatre), and Gas Girls (Black Theatre Workshop).
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Alexandra Laferrière (elle) est une comédienne, interprète et créatrice lauréate du prix Dora Mavor Moore, installée à Montréal. Diplômée du programme de théâtre professionnel du Collège John Abbott, elle a participé au programme de mentorat artistique du Black Theatre Workshop. Parmi ses principales créations théâtrales, citons : Baobab (Théâtre Motus), Sinkhole (or six ways to disappear) (Infinitheatre), Taking Care of Maman (Black Theatre Workshop & Roseneath Theatre), Dominoes at the Crossroads (Infinitheatre), Camille: The Story (Au-delà du visuel), Virginia Wolf (Geordie Theatre), Simone, Half & Half (Black Theatre Workshop), The West Woods (Mulgrave Road Theatre), and Gas Girls (Black Theatre Workshop).
Marc-Antoine Kelertas
as Jim
Marc-Antoine Kelertas is delighted to join Black Theatre Workshop for this public reading of Jeremy O. Harris’s Slave Play. He is a graduate of Bristol Old Vic Theatre School in England. On stage, he has played Townley in Edward Ravenscroft’s The London Cuckolds at the Tobacco Factory Theatre and Peter Tee in Harry Standjofski’s Sakuraat Centaur Theatre, directed by Eda Holmes. On screen, he has played Producer Gary, a recurring role on CBS’s Ghosts. He directed the short Svelarsi (Bare), which has won festival awards. A member of the international company GraceMoon Arts, he splits his time between New York, Rome and Montreal. Next, he joins the New York cast of Theresa Rebeck’s What We’re Up Against as Ben.
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MARC-ANTOINE KELERTAS est ravi de rejoindre le Black Theatre Workshop à l’occasion de cette lecture publique de Slave Play de Jeremy O. Harris. Diplômé de la Bristol Old Vic Theatre School en Angleterre, il a incarné Townley dans The London Cuckolds d’Edward Ravenscroft au Tobacco Factory Theatre, ainsi que Peter Tee dans Sakura de Harry Standjofski au Centaur Theatre, sous la mise en scène d’Eda Holmes. À l’écran, il a incarné le producteur Gary, un rôle récurrent dans la série Ghosts diffusée sur CBS. Il a réalisé le court-métrage Svelarsi (Bare), qui a remporté plusieurs prix dans des festivals. Membre de la compagnie internationale GraceMoon Arts, il partage son temps entre New York, Rome et Montréal. Prochainement, il rejoindra la distribution new-yorkaise de What We’re Up Against de Theresa Rebeck dans le rôle de Ben.
Jeremy Lewis
as Phillip
Jeremy Lewis is a multidisciplinary artist born and based in Tio’tia:ke. Actor, lyricist, improviser, and a pleasure to have in class. As a graduate of John Abbott College’s Professional Theatre Acting program as well as the National Theatre School of Canada’s Acting stream, Jeremy has performed on the streets of Place des Arts in Montreal(Chant de l’arbre – Toxique Trottoir, 2023), the Village of Senakw in Vancouver(Bard on the Beach 2024 season), and the Redbrick Cafe in Guelph, Ontario(Guelph Fringe 2023). Most notably, Jeremy has performed in two world premiere productions: Black Theatre Workshop’s Pirate and the Lone Voice, as well as Infinitheatre’s Dominoes at the Crossroads, earning them two META nominations and one META award for Outstanding emerging artist. As an improviser, they’ve performed with Tightrope Theatre in Vancouver, Outside Joke in Winnipeg, and Théâtre Sainte-Catherine in Montréal. As for their music, their interests mainly reside in storytelling hip hop. You can find their music on streaming platforms under the name The Court Jester.
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Jeremy Lewis est un artiste multidisciplinaire né et installé à Tio’tia:ke. Comédien, parolier, improvisateur, c’est un véritable plaisir de l’avoir en cours. Diplômé du programme de formation professionnelle en art dramatique du John Abbott College ainsi que de la filière d’art dramatique de l’École nationale de théâtre du Canada, Jeremy s’est produit dans les rues de la Place des Arts à Montréal (« Chant de l’arbre – Toxique Trottoir », 2023), au Village de Senakw à Vancouver (saison 2024 du Bard on the Beach) et au Redbrick Café à Guelph, en Ontario (Guelph Fringe 2023). Il a notamment joué dans deux productions en première mondiale : Pirate and the Lone Voice du Black Theatre Workshop, ainsi que Dominoes at the Crossroads d’Infinitheatre, ce qui lui a valu deux nominations aux META et un prix META dans la catégorie « Meilleur artiste émergent ». En tant qu’improvisateur, il s’est produit avec le Tightrope Theatre à Vancouver, Outside Joke à Winnipeg et le Théâtre Sainte-Catherine à Montréal. Côté musique, il s’intéresse principalement au hip-hop narratif. Vous pouvez découvrir sa musique sur les plateformes de streaming sous le nom de The Court Jester.
Madeleine Scovil
as Alana
Madeleine is an actor, director, singer and theatre educator proudly based in Montreal. Recent theatre credits include Alex in Imago Theatre’s Cult Play, Sophie in Centaur Theatre’s Strawberries in January and Lara in Infinitheatre’s Extra/Beautiful/U. Since graduating from the acting program at The National Theatre School of Canada (2023), she has also been granted opportunities in video games, film, commercials, dubbing projects and puppet shows. She hopes to always work within a balance of performing and passing on what she learns from those performances to her students.
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Madeleine est une actrice, metteuse en scène, chanteuse et formatrice en théâtre qui est fière d’être installée à Montréal. Parmi ses rôles récents au théâtre, on peut citer celui d’Alex dans Cult Play de la compagnie Imago Theatre, celui de Sophie dans Strawberries in January du Centaur Theatre et celui de Lara dans Extra/Beautiful/U de la compagnie Infinitheatre. Depuis qu’elle a obtenu son diplôme du programme d’art dramatique de l’École nationale de théâtre du Canada (2023), elle a également eu l’occasion de travailler dans le domaine des jeux vidéo, du cinéma, de la publicité, du doublage et des spectacles de marionnettes. Elle espère toujours trouver un équilibre entre la scène et la transmission à ses élèves de ce qu’elle apprend à travers ces expériences.
Anton May (He/They)
as Gary
Anton May is a British born; multidisciplinary artist based in Tiohtiá:ke (colonially known as Montreal). They are an honours graduate from Dawson College’s Professional Theatre Program, alumnae/Mentor of BTW Artist Mentorship Program and has had the privilege to perform across Canada as well as in New York as a singer and actor. When he’s not acting, he’s voguing or performing in concerts and cabarets singing or moving audiences with his poetry. Libra Sun, Cancer Moon and Rising for the astrology lovers. insta: @_anton.maye__
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Anton May est un·e artiste multidisciplinaire d’origine britannique basé·e à Tiohtiá:ke (connue sous le nom colonial de Montréal). Diplômé·e avec mention du programme de théâtre professionnel du Dawson College, iel est ancien·ne élève et mentor du programme de mentorat artistique BTW et a eu le privilège de se produire partout au Canada ainsi qu’à New York en tant que chanteur·se et comédien·ne. Lorsqu’il ne joue pas la comédie, il pratique le voguing ou se produit lors de concerts et de cabarets, où il chante et émeut le public avec ses poèmes. Pour les amateurs d’astrologie : Soleil en Balance, Lune et Ascendant en Cancer. insta: @_anton.maye__
Sebastián Quint
as Dustin
Colombian-born, Montreal-based multidisciplinary artist Sebastián Quint is a powerful voice for the Latinx and Queer communities. With profound versatility spanning theatre, film, producing, playwrighting, scriptwriting, modeling, and dancing, his trajectory reflects an unwavering commitment to authentic storytelling. Quint’s impactful career ranges from national tours to activist documentary theatre addressing Colombian guerrilla violence. Having completed Black Theatre Workshop’s Artists’ Mentorship Program (AMP) and Playwrights’ Workshop Montreal’s Young Creators Unit (YCU) this past summer, he continues developing vital original projects. From producing his short film Marchita to founding ACTRA Montreal’s Latinx Subcommittee, Quint champions equity, using his multifaceted artistry to bridge cultures.
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Artiste multidisciplinaire d’origine colombienne et basé à Montréal, Sebastián Quint est un porte-parole influent des communautés Latinx et queer. Doté d’une grande polyvalence qui s’étend du théâtre au cinéma, en passant par la production, l’écriture dramatique, la scénarisation, le mannequinat et la danse, son parcours témoigne d’un engagement sans faille en faveur d’une narration authentique. La carrière marquante de Quint va des tournées nationales, au théâtre documentaire militant abordant la violence de la guérilla colombienne. Après avoir suivi l’été dernier le programme de mentorat des artistes (AMP) du Black Theatre Workshop et le programme Young Creators Unit (YCU) du Playwrights’ Workshop Montreal, il continue à développer des projets originaux essentiels. Qu’il s’agisse de produire son court-métrage Marchita ou de fonder le sous-comité Latinx de l’ACTRA Montréal, Quint défend l’équité en mettant à profit son talent artistique aux multiples facettes pour jeter des ponts entre les cultures.
Tamara Brown
as Teá
Tamara Brown is a Montreal-based actor, singer, writer, director, and educator. Theatre: Da Kink in My Hair (Soulpepper/TO Live/NAC/Theatre Calgary); Adventures of a Black Girl in Search of God (NAC/Centaur); Intimate Apparel, (Centaur Theatre); Afrika Solo, Blacks Don’t Bowl (Black Theatre Workshop); and Richard III (Metachroma Theatre). Film and television: Three Pines, Alert: Missing Persons Unit; The Bold Type; Helix; 19-2; The Game; and Real Detective. Videogame: Avatar: Frontiers of Pandora, The Division 2: Warlords of New York; Outriders, The Outer Worlds; Assassin’s Creed: Origins, Valhalla, and Shadows; Outlast 2; and Deux Ex: Mankind Divided. A co-founder of Metachroma Theatre, in 2019 she co-wrote Blackout for Tableau D’Hôte Theatre and her work as a director has been seen on stages in Montreal, Toronto, Sherbrooke, Winnipeg, New York, and Stratford. She does it all for Nancy.
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Tamara Brown est une actrice, chanteuse, autrice, metteuse en scène et enseignante installée à Montréal. Théâtre : Da Kink in My Hair (Soulpepper/TO Live/CNA/Theatre Calgary) ; Adventures of a Black Girl in Search of God (CNA/Centaur) ; Intimate Apparel (Centaur Theatre) ; Afrika Solo, Blacks Don’t Bowl (Black Theatre Workshop) ; et Richard III (Metachroma Theatre). Cinéma et télévision : Three Pines, Alert : Missing Persons Unit ; The Bold Type ; Helix ; 19-2 ; The Game ; et Real Detective. Jeux vidéo : Avatar : Frontiers of Pandora, The Division 2 : Warlords of New York ; Outriders, The Outer Worlds ; Assassin’s Creed : Origins, Valhalla et Shadows ; Outlast 2 ; et Deus Ex : Mankind Divided. Cofondatrice du Metachroma Theatre, elle a coécrit en 2019 Blackout pour le Tableau D’Hôte Theatre et ses mises en scène ont été présentées sur les scènes de Montréal, Toronto, Sherbrooke, Winnipeg, New York et Stratford. Elle fait tout cela pour Nancy.
Julie Tamiko Manning
as Patricia
Julie is an actor and theatre creator from Tiohtià:ke/Montreal. Recent acting credits include: 3 Women of Swatow (Centaur-Outstanding Performance META), Ricki (Scapegoat Carnivale), and Wildfire (Talisman). She is co-Artistic Producer of Tashme Productions with Matt Miwa. Their documentary play, The Tashme Project: The Living Archives was awarded a META for Outstanding New Script in 2019. Her most recent play, Mizushōbai- The Water Trade was shortlisted for the 2024 Carol Bolt Award, Quebec Writers’ Federation Playwriting Award and was nominated for Outstanding New Text (META). She is currently writing a new play about her grandfather’s life as a poet, called 孤村 Lonely Village.
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Julie est une comédienne et créatrice de théâtre originaire de Tiohtià:ke/Montréal. Parmi ses rôles récents, citons : 3 Women of Swatow (Centaur – Prix META de la meilleure interprétation), Ricki (Scapegoat Carnivale) et Wildfire (Talisman). Elle est coproductrice artistique de Tashme Productions aux côtés de Matt Miwa. Leur pièce documentaire, The Tashme Project : The Living Archives, a remporté un prix META du meilleur nouveau scénario en 2019. Sa pièce la plus récente, Mizushōbai – The Water Trade, a été présélectionnée pour le Prix Carol Bolt 2024 et le Prix d’écriture dramatique de la Fédération des écrivains du Québec, et a été nominée dans la catégorie « Meilleur nouveau texte » (META). Elle écrit actuellement une nouvelle pièce sur la vie de son grand-père, poète, intitulée 孤村 Lonely Village.
Grégory-Yves Fénélon
Additional reader
esi callender
Stage directions reader
esi callender is a performer, dramaturg, writer, producer and co-founder of two theatre collectives: UnCanon Theatre (est. 2025) and Sort Of Productions (est. 2018), also discussed in their book chapter “ineffable dramaturgies: experiments in Black queer and trans liberation,” in Contemporary Black Theatre and Performance: Acts of Rebellion, Activism, and Solidarity (Bloomsbury Publishing, 2023). They have a masters in African Studies and won the 2024 German African Studies Association Young Scholar Award for their thesis. Their writing tends to deal with family histories, race, consequence, sexuality, and play.
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esi callender est comédien·e, dramaturge, auteur·e, producteur·trice et cofondateur·trice de deux collectifs de théâtre : UnCanon Theatre (fondé en 2025) et Sort Of Productions (fondé en 2018), dont iel parle également dans le chapitre de son ouvrage intitulé « ineffable dramaturgies: experiments in Black queer and trans liberation », publié dans Contemporary Black Theatre and Performance: Acts of Rebellion, Activism, and Solidarity (Bloomsbury Publishing, 2023). Iel est titulaire d’un master en études africaines et a remporté le prix du jeune chercheur 2024 de l’Association allemande d’études africaines pour sa thèse. Ses écrits abordent généralement les histoires familiales, la race, les conséquences, la sexualité et le jeu.
Corey Weiser
Stage manager
Corey Weiser (he/any) is a Montreal-based Stage Manager. He attended John Abbott College in both the Professional Theatre Acting and Technical programs. In the Fall of 2025, he was one of two participants selected for the Stage Manager Intensive program at the Banff Centre for Arts and Creativity. Past credits include: as Apprentice Stage Manager – Grow, & Our Little Secret: A New Musical (Segal Centre for Performing Arts), Kohkom’s Babushka (Punctuate Theatre, Pyretic Productions, Banff Centre), Vierge (Black Theatre Workshop & Great Canadian Theatre Company), The Wolves (Geordie Theatre & Imago Theatre), Open House, Dominoes at the Crossroads, & Extra/Beautiful/U (Infinithéâtre).
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Corey Weiser (il/any) est un régisseur basé à Montréal. Il a suivi les programmes de formation professionnelle en art dramatique et en techniques scéniques au Collège John Abbott. À l’automne 2025, il a été l’un des deux participants sélectionnés pour le programme intensif de régie au Banff Centre for Arts and Creativity. Parmi ses précédentes collaborations, on peut citer : en tant qu’assistant régisseur – Grow et Our Little Secret: A New Musical (Centre Segal des arts de la scène), Babushka de Kohkom (Punctuate Theatre, Pyretic Productions, Centre de Banff), Vierge (Black Theatre Workshop et Great Canadian Theatre Company), The Wolves (Geordie Theatre et Imago Theatre), Open House, Dominoes at the Crossroads et Extra/Beautiful/U (Infinithéâtre).
Dr. Diane Roberts
Dr. Diane Roberts is an accomplished director, dramaturge, writer and cultural animator, who has collaborated with innovative theatre visionaries and interdisciplinary artists for the past 35 years. Her directorial and dramaturgical work has been seen on stages across Canada and her reputation as a mentor, teacher and community collaborator is nationally and internationally recognized. Diane’s celebrated Arrivals Personal Legacy Project, developed during her 7-year tenure as Artistic Director of Urban Ink productions, has birthed new Interdisciplinary works across Canada, throughout the Americas, in the UK, Europe, Africa and the Caribbean. This work has allowed her to articulate, cultivate and realise a vision for theatre that encourages Indigenous ways of knowing as a steppingstone to creative expression. She is a founding member of Obsidian Theatre and backforward collective, Founder of The Arrivals Legacy Project and co-founder and Artistic Director of Boldskool Productions with playwright Omari Newton. Alongside her professional career, Diane completed her PhD in Interdisciplinary Studies, Fine Arts Humanities at Concordia University in Montreal having received a 2019 Pierre Elliott Trudeau Foundation Scholarship and a Joseph-Armand Bombardier Canada Graduate Scholarship.
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La Dre Diane Roberts est une metteuse en scène, dramaturge, autrice et animatrice culturelle accomplie, qui collabore depuis 35 ans avec des visionnaires du théâtre et des artistes interdisciplinaires novateurs. Ses mises en scène et ses travaux de dramaturgie ont été présentés sur les scènes de tout le Canada, et sa réputation de mentor, d’enseignante et d’actrice de la vie communautaire est reconnue tant au niveau national qu’international. Le célèbre projet « Arrivals Personal Legacy Project » de Diane, développé au cours de son mandat de sept ans en tant que directrice artistique d’Urban Ink Productions, a donné naissance à de nouvelles œuvres interdisciplinaires à travers le Canada, dans les Amériques, au Royaume-Uni, en Europe, en Afrique et dans les Caraïbes. Ce travail lui a permis d’articuler, de cultiver et de concrétiser une vision du théâtre qui valorise les modes de savoir autochtones comme tremplin vers l’expression créative. Elle est membre fondatrice de l’Obsidian Theatre et du collectif backforward, fondatrice du projet « Arrivals Legacy » et cofondatrice et directrice artistique de Boldskool Productions aux côtés du dramaturge Omari Newton. Parallèlement à sa carrière professionnelle, Diane a obtenu son doctorat en études interdisciplinaires, beaux-arts et sciences humaines à l’université Concordia de Montréal, après avoir reçu une bourse de la Fondation Pierre Elliott Trudeau en 2019 ainsi qu’une bourse d’études supérieures du Canada Joseph-Armand Bombardier.
The Other Side of the Game
29/10/2026 & 31/10/2026 | Segal Centre Studio
By Amanda Parris
Directed by Ravyn R. Bekh
Workshop Reading
Amanda Parris is a member of the Playwrights’ Guild of Canada
Company
Letitia Brookes as Shevon & Beverely
Danny Blanco-Hall as Elder & Winston
Tiernan Cornford as Nicole & Akilah
Kareem T Alleyne as Devonte & Khalil
Grégory-Yves Fénélon as Social Worker, Cop & Flyn
Natina Selah | Stage directions reader
Corey Weiser | Stage manager
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29 et 31 octobre 2026 | Studio du Centre Segal
Texte : Amanda Parris
Mise en scène : Ravyn R. Bekh
Atelier de lecture publique
Amanda Parris est membre de la Playwrights’ Guild of Canada (Association des
dramaturges du Canada).
Distribution et équipe artistique
Letitia Brookes — Shevon et Beverly
Danny Blanco-Hall — Elder et Winston
Tiernan Cornford — Nicole et Akilah
Kareem T. Alleyne — Devonte et Khalil
Grégory-Yves Fénélon — Travailleur social, policier et Flyn
Natina Selah — Lecture des didascalies
Corey Weiser — Régie
Winner of the 2019 Governor General’s Literary Award for English-language Drama, this striking debut by Amanda Parris follows the lives of two Black women whose approach to social activism, motherhood, and partnerships hinges on a “Ride-Or-Die” philosophy. The play weaves back and forth between the 1970s, where Beverly joins a Black social justice organization, and present day, where Nicole reconnects with her habitually incarcerated ex-boyfriend. This play turns a spotlight on the often-overlooked contributions of, and toll on Black women, who are often the backbone of households and community organizations alike.
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Lauréate du Prix littéraire du Gouverneur général 2019, catégorie théâtre de langue anglaise, cette première œuvre marquante d’Amanda Parris suit le parcours de deux femmes noires dont les rapports à l’engagement social, à la maternité et aux relations amoureuses reposent sur une philosophie de loyauté inconditionnelle, celle du « Ride-orDie ». La pièce fait des allers-retours entre les années 1970, alors que Beverly rejoint une
organisation noire de justice sociale, et le temps présent, où Nicole renoue avec son ancien amoureux, régulièrement incarcéré. The Other Side of the Game met en lumière les contributions trop souvent invisibilisées des femmes noires, ainsi que le poids des responsabilités qu’elles portent. Véritables piliers de leurs familles et de leurs organismes communautaires, elles jouent un rôle essentiel dans le maintien et la vitalité de leurs communautés
The Exchange Pre-Show Conversation
Thursday October 29th, 2026, 5:30pm
In partnership with Concordia University’s Office of Community Engagement: University of the Streets Cafe On October 29th, don’t miss the pre-show University of the Streets Cafe held in the lower lobby of the Segal. In partnership with Concordia University’s Office of Community Engagement, we are hosting a conversation around themes of systemic oppression, the social justice, and the reliance on the labour of Black women in community.
The pre-show conversation starts at 5:30pm before the opening night’s reading, with guest speaker Shirlette Wint, a psychotherapist, clinical social worker, researcher, and cultural consultant, BTW Artistic Director Dian Marie Bridge, and Concordia University’s Kristen Young.
This pre-show conversation will be catered by Lloydie’s, a highly regarded Caribbean restaurant in the area.
(*cost in addition to reading)
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Soirée de discussion d’avant-spectacle
Jeudi 29 octobre 2026, 17 h 30
Le 29 octobre, ne manquez pas cette conversation d’avant-spectacle, présentée dans le foyer inférieur du Centre Segal. Organisée en partenariat avec le Bureau de l’engagement communautaire de l’Université Concordia et son initiative University of the Streets Café, cette rencontre abordera les thèmes de l’oppression systémique, de la justice sociale et de la dépendance des communautés envers le travail, souvent invisible, des femmes noires.
La soirée de discussion d’avant-spectacle débutera à 17 h 30, avant la première lecture publique, avec comme invitées Shirlette Wint, psychothérapeute, travailleuse sociale clinicienne, chercheuse et consultante culturelle, Dian Marie Bridge, directrice artistique du Black Theatre Workshop, ainsi que Kristen Young, de l’Université Concordia.
Un service de restauration sera offert par Lloydie’s, un restaurant caribéen réputé du quartier.
(Des frais supplémentaires s’appliquent à cette activité, en plus de la lecture.)
The Salon Reading
Thursday October 29th, 2026, 7pm
Jeudi 29 octobre 2026, 19 h
Matinee play reading, followed by a Q&A with the director, actors, and BTW team /
Lecture public d’apres-midi, suivie d’une période de questions et d’échanges avec la
personne responsable de la mise en scène, les interprètes et l’équipe du BTW.
Saturday October 31st, 2026, 2:30pm
Samedi 31 octobre 2026, 14 h 30
Play reading, followed by a Q&A with the director, actors, and BTW team /
Lecture publique en soirée, suivie d’une période de questions et d’échanges avec la
personne responsable de la mise en scène, les interprètes et l’équipe du BTW.
Saturday October 31st, 2026, 7pm
Samedi 31 octobre 2026, 19 h
All events are Pay-What-You-Can online or at the door.
Tous les événements sont à prix libre.
Cast & Crew
Letitia Brookes
Letitia is thrilled to be back working with BTW for this reading! Letitia was the recipient of the 2017/18 METAs award for Outstanding Lead Performance – Actress for The Mountaintop, and was also honoured with the 2014 Gloria Mitchell-Aleong Award at BTW’s Vision Gala. Theatre credits include: The Mountaintop (BTW & Neptune Theatre), Sal Capone: The Lamentable Tragedy of (urban ink productions & BTW, BoldSkool Productions), Twelfth Night, or What You Will (Repercussion Theatre), Oroonoko (Persephone Productions). Film and TV credits include: DMV, The Unstoppable Jenny Garcia, Transplant, Fatherhood, and Coda. Before graduating with a BFA in Theatre from Concordia University, she produced and co-starred in two productions through her company, Nu Spyce Productions: For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf by Ntozake Shange and Single Black Female by Lisa B. Thompson. She was a member of BTW’s Artist Mentorship Program and also completed a Producing Apprenticeship in Toronto through Obsidian Theatre Company’s Mentor Apprentice Program.
Danny Blanco-Hall
Born in Montreal to Haitian and Colombian parentage, Danny Blanco-Hall began his professional career as a vocalist, performing across North America and internationally for over a decade. His transition to acting began with a leading role as Tom Collins in the Canadian production of Rent, an experience that inspired him to pursue acting full time upon returning to Montreal. With over 20 years of experience across film, television, theatre, and voice acting, Danny’s screen credits include Riddick, Dark Phoenix, Immortals, and 19-2, as well as Transplant, Quantico, and The Bold Type. His extensive voice-over and video game work includes franchises such as Assassin’s Creed, Far Cry, and Deus Ex. Equally at home on stage and in the recording studio, Danny is fluent in English, French, and Spanish, bringing versatility, musicality, and depth to every performance.
“I’m honoured to be part of Black Theatre Workshop’s exploration of The Other Side of the Game, and grateful for the chance to contribute to this creative process.”
Tiernan Cornford
META nominated for Outstanding Lead Performance – PACT Production for her lead role in Snow White, Geordie Theatre, 2026. Born in Tiohtià:ke/Montréal, Tiernan Cornford has worked and trained as an actor, playwright and overall creator for a decade.
Tiernan has collaborated with Playwright’s Workshop Montreal (Young Creator’s Unit), Repercussion Theatre (All Shall Be Well, Much Ado About Nothing), as well as receiving her BFA in Acting from Concordia University. Tiernan was awarded the Concordia Theatre Prize; she is also the recipient of a META nomination for Outstanding Emerging Artist.
Kareem T. Alleyne
Kareem T. Alleyne is a Montréal-based multidimensional artist with a passion for storytelling and bringing characters to life across different mediums. His recent screen credits include The Boys and French-language productions Les Armes, Emprises, Labrador, and most recently, Dumas. His voice work spans dubbing and commercial voice-overs. Beyond the screen, Kareem has pursued extensive improv training, taught acting classes, and hosted a few talent showcases. This play reading marks his return to the stage in this format after many years, making it a special opportunity to reconnect with live performance.
Grégory Yves
Grégory Yves is a Haitian-Canadian actor and musician who has graced stages from Calgary to the National Arts Centre, with many more still to come. Born in Ottawa, he is the proud product of a strong matriarchal family. He previously trained at the University of the Arts in Philadelphia and is a graduate of Concordia University’s Acting Program (BFA ’20). This marks his fourth collaboration with Black Theatre Workshop, following a school tour of Scotian Journey (2019) AMP (2022) and an award-winning lead performance in Pipeline (2022).
Corey Weiser
Corey Weiser (he/any) is a Montreal-based Stage Manager. He attended John Abbott College in both the Professional Theatre Acting and Technical programs. In the Fall of 2025, he was one of two participants selected for the Stage Manager Intensive program at the Banff Centre for Arts and Creativity. Past credits include: as Apprentice Stage Manager – Grow, & Our Little Secret: A New Musical (Segal Centre for Performing Arts), Kohkom’s Babushka (Punctuate Theatre, Pyretic Productions, Banff Centre), Vierge (Black Theatre Workshop & Great Canadian Theatre Company), The Wolves (Geordie Theatre & Imago Theatre), Open House, Dominoes at the Crossroads, & Extra/Beautiful/U (Infinithéâtre).
Natina Selah
Natina Selah is a performing artist and writer, graduating soon from Concordia University’s School of Performance. From Tkaronto (“Toronto”) to Tiohtià:ke (“Montréal”), their practice centers voice and movement on an interdisciplinary exploration into acting, audiovisual design, poetry, and movement. Developing a method of intuitive response has led to creature embodiment and improvisational poetry invoked by ensemble work. In 2026, Natina Selah choreographed, wrote, and performed in her latest work Where Do Phoenixes Go To Die? at the Art Matters Festival closing party, collaborated with UnCanon Theatre and Repercussion Theatre’s The Winter’s Tale, performed in LITTLE STAR’S ONE NIGHT ONLY, and continued to present internationally with the Montreal Steppers. Natina Selah demands critical and generous curiosity, emboldened hope, and kindness as an active practice.
Ravyn R. Bekh
Dawson Dome-raised, Ravyn R. Bekh is a multi-disciplinary creator based in Tiohtià:ke (mtl). Inspired by the likes of Hansberry and Parks, Ravyn aims to bring to life those homegrown stories of grime and grit — with a dash of soul and poetry. She hopes to do so with the optimism and natural beauty she has found life to be full of.